SZlZi! 


:  •>’  i-'  \ . 


. 


r- 


A  SUMPTUOUS  CATALOGUE. 


Preparatory  for  the  sale  of  the  works  of 
art  collected  by  the  late  Henry  G.  Mar- 
quand  which  remain  a  part  of  his  estate 
and  w'ere  not  presented  to  the  Metropolitan 
Museum,  the  firm  having  charge  of  the  sale 
has  issued  a  very  sumptuous  catalogue, 
limited  to  250  copies,  which  surpasses  in 
beauty  and  elaborateness  anything  hereto¬ 
fore  printed  for  the  sales  by  the  American 
Art  Association. 

The  sales  of  Mr.  Marquand’s  treasures 
are  to  open  on  Jan.  23,  which  is  a  Friday, 
and  continue  during  the  afternoon^  of  Jan. 
24,  26,  27,  28,  29,. 30,  and  31,  as  well  as  the 
evenings  of  Jan.  28,  29,  and  30.  The,  promi¬ 
nence  of  Mr.  Marquand  as  a  collector  and 
as  President  of  the  Metropolitan  Museum 
would  be  sufficient  in  itself  to  call  atten¬ 
tion  to  these  sales;  but  the  many  friends 
he  made  during  his  life  and  the  circum¬ 
stances  which  have  compelled  the  disposal 
of  his  art  treasures  add  to  the  interest.  All 
New  York  will  be  there. 

The  frontispiece  of  this  portly  folio  in 
board  covers  is,  naturally  enough,  a  repro¬ 
duction  of  Sargent’s  admirable  portrait  of 
Mr.  Marquand,  a  photogravure  on  heavy 
Japanese  paper,  and  worthily  does  it  lead 
the  long  line  of  illustrations.  The  original 
is  a  picture  that  holds  its  own  for  charac¬ 
terization  of  the  sitter  and  for  brilliancy  of 
technique  with  the  portraits  by  old  masters 
and  the  print  reproduces  the  sweep  of  the 
brush  wherewith  Sargent  has  indicated  the 
structure  of  a  hand  and  the  wrinkled  skin 
of  an  elderly  person,  the  fall  of  the  trous¬ 
ers  that  indicates  the  shrunken  proportions 
of  advanced  years,  and  the  eyes,  somewhat 
perplexed,  which  suggest  a  person  some¬ 
what  hard  of  hearing  who  is  trying  to  dis¬ 
tinguish  what  is  being  said  to  him.  The 
original  is  the  property  of  the  Metropoli¬ 
tan  Museum. 

The  catalogue  is  from  the  J.  J.  Little 
Press,  finely  printed  on  heavy,  laid  paper, 
and  contains  over  seventy  full-page  illus¬ 
trations,  like  the  frontispiece,  on  heavy 
Japanese  paper.  The  painters  judged  wor¬ 
thy  of  reproductions  in  this  way  are:  Con¬ 
stable — “Dedham  Vale”;  J.  M.  W.  Turner 
—Three,  views  in  Germany;  Sir  Joshua 
Reynolds— “  Countess  of  Nottingham”  and 
“The  Hon.  Mrs.  Stanhope”;  George  Rom¬ 
ney—"  The  Shy  Child  ”  and  “  Mrs.  Wells  ”; 
Theodore  Rousseau— A  landscape;  John 
Hcppner— “  Lady  Almeria  Carpenter,” 
“Young  Shelley,”  and  “Mrs.  Gwyn”;  Sir 
Henry  Raeburn—”  Portrait  of  Charles 
Lamb”;  John  Russell,  R.  A.— “  Peg  Wof¬ 
fington”;  Constant  Troyon— “  Landscape 
With  Cattle”;  Alma-Tadema— "  A  Reading 
from  Homer”  and  “Amo  Te,  Ama  Me!” 
Lord  Leighton—”  Mural  Paintings  Repre¬ 
senting  Music  ”;  Old  Crome— “  The  Porling- 
ton  Oak”;  Edwin  A.  Abbey— ”  Mariana  in 
Measure  for  Measure,”  and  George  Jri. 
Boughton—  “  Marvell's  Last  Visit  to  Mil- 
ton.”  These  twenty-three  pictures  have 
been  selected  from  ninety-three  oils  and 
water  colors  belonging  to  the  Marquand 
estate  which  will  come  up  for  sale  next 
month.  The  photogravures  are  what  are 
called  Elson  prints,  and  are  made  in  Bos¬ 
ton.  ,  ,  .  , 

Five  color  plates  by  the  American  Litho¬ 
graphic  Company  of  New  York  add  to  the 
value  of  this  permanent  record  of  a  nota¬ 
ble  sale— a  Persian  carpet  of  the  sixteenth 
century,  about  sixteen  feet  long,  charming 
in  design  and  soft  in  colors;  a  Luristdn 
fifteen  feet  long,  dark-blue  centre  and  red 
border,  with  pear-shaped  escutcheons,  and 
a  splendid  Persian  of  the  fifteenth  century, 
about  twelve  feet  long,  with  a  border  of 
red  escutcheons  containing  inscriptions  in 
poetry,  a  yellow  ground,  and  in  the  central 
field  fabulous  animals  on  a  green  ground. 
The  last  recalls  the  frontispieces  of  Persian 
books.  An  old  Persian  prayer  rug  very 
mellow  in  color  and  another  more  brilliant, 
both  of  silk,  are  further  embellishments  of 
the  book.  These  color  prints  are  separately 
printed  and  tipped  in.  The  letter  press  ac¬ 
companying  the  description  contains  much 
information  which  will  be  relished  by  those 
who  admire  Oriental  rugs. 

Other  objects  in  the  collection  reproduced 
by  photogravures  arc  bronzes,  ivories,  and 
tapestries,  a  piano  with  designs  by  Alma- 
Tadema,  altar  frontals  and  inlaid  cabinets, 
Moorish  placques  from  Spain,  enamels 
from  Limdges,  Greek  terra  cottas  and  fig¬ 
urines  by  the  Della  Hobbias,  mosaics  from 
old  Rome,  English  silver,  Greek  and  Ro¬ 
man  glassware,  Chinese  porcelains  and 
Japanese  lacquers,  old  Delft  and  Japanese 
pottery,  and  many  other  articles.  Mr. 
Marquand’s  collection  of  catalogues  will  In¬ 
terest  librarians;  his  sketches,  etchings,  and 
drawings  by  famous  artists  attract  the 
curators  of  museums.  His  library  of  l,20t) 
volumes  will  also  be  dispersed  by  this  sale; 
it  contains  an  unusual  number  of  works  on 
art.  The  badge  on  the  cover  of  the  cata¬ 
logue  is  a  seal  with  sailing  Crusader’s  gal¬ 
ley  in  the  centre,  steered  by  a  saint,  and 
around  the  edge  the  Latin  of  his  name 
[“  Marquand  ”  being  translated  into  “  mer¬ 
chant  ”]  runs  thus: 

S.  HENRICI.  G.  MERCATORIS. 


i  j-uii  fj  /-i  v  u  » JUMjtjJSt/X  lUSS* 

I.  The  Pictures. 

The  art  treasures  collected  by  the  late 
Henry  G.  Marquand  are  on  exhibition  at 
the  American  Art  Galleries,  Madison 
Square.  Their  disposal  commences  on  Jan. 
23  with  the  sale  of  thoyoy  paintings  and 
water  colors.  , 1 

Amid  the  variety  sumptuousness  of 
this  display  the  pipPJTes  do  not  sound  the 
most  prominent  n<We,  for  Mr.  Marquand 
gave  his  best  to  the  Metropolitan  Museum. 
Yet  of  those  which  he  reserved  for  personal 
companionship  a  fair  number  qsjaSof  con¬ 
spicuous  interest,  the  most  ij&^rtaht  be¬ 
longing  to  tire  English  schools  .There  is, 
for  example,  a  “Portrait  oiCfth's.  Wells”  by 
Romney,  very  handsome  m  composition 
and  suave  in  color,  raS^id  with  an  ad¬ 
mirable  mingling  of  Wl^feth  and  deliberate 
precision;  while  “The  Smy  Child,”  an  exam¬ 
ple  of  one  of  bis  unfinished  canvases,  is  a 
rapidly  transmitted  impression  of  child¬ 
hood,  the  fresh  and  innocent  charm  of 
i which  no  further  finishing  could  increase. 

| The  “Portrait  of  Charles  Lamb,”  by  Rae¬ 
burn,  has  an  interest  apart  from  its  qualities 
as  a  painting;  but  in  the  latter  respect  also 
it  is  a  memorable  instance  of  his  straight¬ 
forward  honesty  of  method  and  of  his 
sympathetic  insight  into  the  psychology 
of  his  subject.  In  an  age,  prone  to  affecta¬ 
tions,  these  were  characteristics  which 
i  especially  distinguished  the  Scotch  artist, 
and  they  appear  conspicuously  in  this  pict- 
iure.  Another  of  twofold  interest  is  Hoj  p 
ner’s  “Portrait  of  Young  Shelley.”  The 
poet’s  childhood  was  not  a  happy  one  and 
the  traces  of  it  appear  in  the  large -eyed 
sadness  of  this  young  face,  already  pro¬ 
jecting  its  glance  far  beyond  the  kin  and 
the  conventionalities  of  his  age.  The  pict¬ 
ure  has,  moreover,  a  gravity  of  method, 
very  different  from  the  facial  gayety  or 
elegant  elaboration  of  Lawrence,  who 
shared  with  Hoppner  the  favor  of  court  and 
public.  By  Reynolds  are  portraits  of  the 
Countess  of  Nottingham  and  of  the  Hon. 
Mrs.  Stanhope.  The  latter,  very  pictorial 
in  composition,  is  a  fine  example  of  the 
artist’s  fondness  for  mellowness  of  tone 
and  for  transparency  of  light  and  shade. 
It  has  not  the  vital  qualities  of  some  of  his 
portraits,  but  represents  him,  usually  keen 
and  certain,  in  one  of  his  more  imaginative 
moods. 


Of  the  early  English  landscapes  there  are 
three  examples  by  old  Crome.  The  “Old 
Mill  on  the  Yare,”  exceedingly  beautiful  in 
tone  and  painted  with  unusual  breadth, 
reveals  in  its  choice  of  subject  and  in  its 
treatment  the  influence  of  the  seventeenth 
century  Dutchmen;  while  “The  Porlington 
Oak”  is  fiavkly  inspired  by  the  Crome’s 
own  study  of  nature.  Both  are  rarely  fine 
examples  of  the  Norwich  artist,  yet  one 
may  prefer  the  “Landscape  with  Cottage.” 
The  cottage  itself,  which  occupies  the  fore¬ 
ground,  is  delightfully  rendered  with  general 
truth  and  infinite  truthfulness  of  detail, 
but  even  more  conspicuously  clever  is  the 
way  in  which  its  bulk  is  balanced  with  the 
delicate  perspective  of  the  distance.  Lastly, 
of  the  early  English  period  is  the  celebrated 
“Dedham  Yale,  ”  by  Constable.  It  is  not  one 
of  his  portrayals  of  nature  in  her  rigorous 
mood;  and  will  not  compare,  for  example, 
with  the  solidity  and  amplitude  of  force  of 
the  “Valley  Farm”  in  the  National  Gallery. 
Yet  it  has  an  ampleness  of  another  kind,  a 
most  just  and  vivid  appreciation  of  the 
dignity  of  space  and  distance;  depicted,,  not 
with  a  broad  generalization,  but  with  the 
feeling  for  little  facts  that  distinguishes,  for 
example,  Rembrandt’s  vista  of  distance  in 
the  etching  of  “The  Three  Trees.”  Mean¬ 
while  the  foreground  is  sufficiently  broad 
and  general  and  as  a  foretaste  to  the  after- 
delicacv  is  a  tree  upon  the  left  of  peculiar 
sensitiveness.  By  Turner  are  three  water 
colors,  characteristically  exquisite  in  their 
skilfulness  of  technique  and  full  of  local 
feeling.  _  .  ,  .  , 

Of  modern  Englishmen  Leighton  and 
Alma-Tadema  are  well  represented;  the 
former  by  a  “  Mythological  Triptych 
Illustrating  Music.”  The  three  separate 
panels  decorated  the  ceiling  of  the  music 
room,  but  are  seen  to  much  better  advantage 
on  a  wall.  The  figures  and  draperies  have 
that  peculiar  quality  of  refinement  which 
Leighton  imagined  for  himself  out  of  his 
study  of  the  antique,  ard  the  fact  that  the 
flesh  tones,  lovely  in  themselves,  are  far 
from  those  of  real  life,  does  not  interfere 
with  the  beauty  of  these  paintings  as  dec¬ 
orations.  Both  the  “Amote,  _  Ama  me” 
and  “A  Reading  from  Homer”  illustrate  in 
a  superior  manner  Alma-Tadema’s  power 
of  recreating  a  classic  scene  and  of  making 
the  figures  live  in  it.  They  are  also  ex¬ 
amples  of  his  painter  qualities  at  their 
t)6St. 

There  is  a  fine  “Landscape  and  Cattle” 
by  Troyon,  one  small  example  each  of 
Rousseau  and  Corot;  a  pleasant  little  genre 
subject  by  Eduard  Frfere,  and  a  large  and 
very  handsome  landscape  by  George  H. 
Boughton.  He  is  represented  also  by  a 
precisely  executed  figure  picture,  “Mar¬ 
vell’s  Last  Visit  to  Milton.” 

Among  the  water  colors  special  mention 
should  be  made  of  “A  Spanish  Fencer” 
by  Jose  Villegas;  “Tintern  Abbey,  ”  by  Alfred 

TV,  „  „  -1  T5  A  AhhdiJn  “Moniono  n 


Digitized  by  the  Internet  Archive 
in  2019  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/illustratedcatal00amer_53 


THE  MARQVAND  COLLECTION. 

The  exhibition  and  sale  of  the  paintings  and 
other  works  of  art  brought  together  by  the  late 
Henry  G.  Marquand  have  excited  public  inter¬ 
est  to  an  extent  unusual  even  in  these  days 
when  events  of  the  sort  are  appreciated  at 
their  full  value.  For  a  parallel  to  the  atten¬ 
tion  with  which  the  bidding  at  the  American 
Art  Galleries  has  been  followed  one  must  go 
back  to  the  sale's  in  this  city  of  the  Stewart 
and  Morgan  collections.  To  seek  an  explana¬ 
tion  of  this  general  concern  with  matters  often 
assumed  to  be  exclusively  the  property  of  con¬ 
noisseurs  and  professional  commentators  is  to 
develop  several  points  having  a  direct  bearing 
upon  the  broad  question  of  taste  and  education 
in  matters  of  art. 

This  widespread  public  interest  has  not,  we 
believe,  been  a  manifestation  of  curiosity 
alone.  It  has  testified  first  and  last  to  an  in¬ 
telligent  recognition  of  the  firm  basis  of  Mr. 
Marquand’s  repute  as  a  collector.  Before  the 
sale  began  one  frequently  heard  the  surmise 
that  merely  because  of  his  name  high  prices 
would  rule.  This  was  only  another  way  of  say¬ 
ing  that  every  one  was  aware  of  the  patience, 
care  and  judgment  with  which  Mr.  Marquand 
was  accustomed  to  pursue  the  objects  of  his 
desire.  The  character  of  his  library,  empha¬ 
sized  in  The  Tribune  at  the  time  the  exhibition 
opened,  must  have  been  widely  noticed  as  an 
indirect  ratification  of  this  point.  Weak  in  fine 
bindings  and  in  examples  of  mere  rarity,  it  was 
strong  in  the  literature  from  which  the  connois¬ 
seur  must  draw  some  of  his  chief  weapons  in 
the  practical  treatises  which  illuminate  the 
field  of  art  and  bring  knowledge  to  the  support 
of  taste.  This  collector  loved  beauty  in  all  its 
forms.  His  researches  only  made  him  the  more 
critical,  and  the  treasures  with  which  his  house 
was  filled  at  the  time  of  his  death— despite  the 
numerous  gifts  he  had  made  to  the  Metropoli¬ 
tan  Museum  of  Art— constituted,  when  taken 
together,  a  memorable  lesson  to  those  whose 
privilege  it  is  to  adorn  their  dwellings  with 
costly  objects,  but  who  too  often  rest  satisfied 
with  costliness  alone.  Notable  evidence  of  the 
respect  in  which  Mr.  Marquand  has  been  held 
wherever  works  of  art  are  bought  and  sold  -was 
provided  at  the  sale  by  the  presence  of  more 
than  one  dealer  from  abroad,  amply  prepared, 
as  the  records  have  shown,  to  pay  large  sums 
for  things  well  known  in  Europe  and  eagerly 
desired  there.  This  is  not  the  first  time  that 
foreign  competition  has  been  brought  heavily 
to  bear  in  the  New-York  market.  But  the  range 
that  it  covered  at  the  Marquand  sale,  embrac¬ 
ing  not  pictures  alone,  but  practically  every 
department  in  the  collection,  indicated  that  af¬ 
fairs  of  the  sort  here  are  being  watched  from 
the  other  side  more  closely  than  ever  before. 

The  American  and  the  foreign  contingents 
between  them  carried  many  an  object  in  the 
sale  to  rather  spectacular  figures.  Excesses  of 
the  sort  were  inevitable.  They  are  bound  to 
occur  at  every  auction  of  importance,  and  par- 

4-imilo  vlv  o  +  <1  firna  wlion  +1*o  lvniltHn/v  /-» c  itiotitt 


mansions  creates  a  demand  for  luxurious  deco¬ 
rations  to  be  obtained  with  the  least  possible 
delay.  But  close  analysis  of  the  catalogue, 
with  the  prices  affixed,  shows  that  examples 
of  enlightened  conservatism  were  not  lacking; 
and  one  especially,  of  very  instructive  import,  is 
to  be  derived  from  the  policy  practised  by  the 
Metropolitan  Museum  of  Art.  With  the  public 
knowledge  of  the  great  increase  brought  to  the 
museum's  resources  by  the  Rogers  bequest 
there  lias  not  unnaturally  gone  a  desire  to  see 
it  making  generous  purchases,  and,  indeed,  ex¬ 
pectation  of  such  purchases  has  been  keen  in 
many  quarters.  While  the  museum  may  have 
disappointed  some,  who  looked  for  unyielding 
resistance  to  all  competitors,  it  has  deeply  grati¬ 
fied  its  most  thoughtful  friends.  The  latter 
have  clearly  understood  that  loyalty  to  its  late 
president  and  peculiar  knowledge  of  his  au¬ 
thority  as  a  connoisseur  would,  as  a  matter  of 
course,  give  it  a  warrant  for  participation  in 
the  auction.  But  they  have  also  realized  the 
circumstances  surrounding  the  responsibility 
of  the  museum  as  a  buyer  at  this  or  any  other 
sale. 

Mr.  Marquand  himself  would  have  been  the 
first  to  deprecate  the  sacrifice  of  judgment  to 
sentiment  in  the  administration  of  the  institu¬ 
tion  upon  whose  affairs  he  exerted  for  so  many 
years  an  influence  essentially  conservative.  To 
him  and  to  his  colleagues  the  museum  was  ever 
a  public  trust,  and  the  history  of  their  labors  is 
a  record  of  measures  and  expenditures  con¬ 
trolled  by  a  due  sense  of  the  reasonable  and 
even  cautious  conduct  indispensable  in  any 
public  enterprise.  In  the  present  instance, 
moreover,  there  was  an  imperative  reason  for 
restraint.  In  addition  to  the  fine  collection  of 
paintings  he  gave  to  the  museum,  Mr.  Mar¬ 
quand  made  divers  contributions  of  importance 
in  many  other  departments,  placing  them  in  a 
position  where  purchases  for  them  became  un¬ 
necessary.  Obviously,  nothing  should  be  bought 
for  the  museum  that  is  a  duplicate  of  an  ob¬ 
ject  it  already  possesses  or  no  finer  in  quality. 
The  bids  of  the  museum  were  therefore  deter¬ 
mined  throughout  by  the  general  principle  we 
have  indicated,  a  principle  of  extreme  caution, 
looking  to  the  purchase  of  new  treasures  only 
when  they  are  desirable  from  every  point  of 
view,  and  then  at  no  more  than  a  sound  mar¬ 
ket  price.  Thus,  in  purchasing  the  small  land¬ 
scape  by  Rousseau  for  $3,200  to  add  to  the 
Wolfe  collection,  and  in  securing  some  of  the 
Tanagra  figurines  and  the  medallion  by  Andrea 
della  Robbia,  all  at  moderate  prices,  the  trus- 
tees  not  only  acted  wisely  for  the  institution 
under  their  care,  but  set  a  far  more  useful  ex¬ 
ample  than  they  would  if  they  had  sought  to 
better  the  bid  of  $22,200  on  Hoppner’s  “Mrs. 
Gwyn,"  or  that  of  $26,000  on  the  Limosin 
altar  screen.  These  judicious  bids  have  added 
substantially  to  the  distinction  of  the  museum, 
and  they  give  earnest  of  exactly  the  policy 
which  it  is  to  be  hoped  will  be  maintained  in 
the  future. 


SALE  AT  MENDELSSOHN  HALL 

ON  THE  EVENING  OF  FRIDAY,  JANUARY  23RD,  1903 
AND  CONTINUING 

AT  THE  AMERICAN  ART  GALLERIES 

ON  THE  AFTERNOONS  OF  JANUARY  24TH,  26th,  27TH, 
28th,  29TH,  30TH,  and  3  ist,  AND  EVENINGS  OF  JANUARY 
28th,  29TH,  AND  3OTH. 


THE 


HENRY  G.  MARQUAND 
COLLECTION 


ON  FIE  IF  DAT  AND  EVENING 
AT  THE  AMERICAN  ART  GALLERIES 

MADISON  SQUARE  SOUTH,  NEW  YORK,  FROM  WEDNESDAY, 
JANUARY  i4th,  UNTIL  THE  DAY  OF  SALE,  INCLUSIVE 


Subscriber  s  Copy  number _ 


EDITION  LIMITED  TO  TWO  HUNDRED  AND  FIFTY  COPIES 


AW.  Elgon  &  Co,  Boston 


ILLUSTRATED  CATALOGUE 


OF  THE 


ART  AND  LITERARY 
PROPERTY 


COLLECTED  BY  THE  LATE 


HENRY  G.  MARQUAND 

EDITED  BY  THOMAS  E.  KIRBY 


THE  ENTIRE  COLLECTION  TO  BE  SOLD 
AT  UNRESTRICTED  PUBLIC  SALE  BEGIN¬ 
NING  JANUARY  TWENTY-THIRD,  1903,  BY 
ORDER  OF  THE  EXECUTORS,  UNDER 
THE  MANAGEMENT  OF 


The  American  Art  Association 


Copyright,  1903,  by 

THE  AMERICAN  ART  ASSOCIATION 
New  York 

[All  rights  reserved] 


Photogravures  by  A.  W.  Elson  &  Co.,  Boston 
Color-plates  by  the  American  Lithographic  Co.,  New  York 
[By  courtesy  of  Charles  Scribner's  Sons] 


INTRODUCTORY 


The  Marquand  Collection  of  works  of  art  was  beyond  measure  attractive  to  the 
enthusiastic  student,  because  ot  its  variety,  and  also  because  of  the  certainty  one  felt  that 
each  piece  was  the  finest,  or  very  nearly  the  finest,  piece  obtainable.  It  is  the  student  of 
art  to  whom  it  appealed.  An  archseologist,  a  historian,  might  find  his  needs  better  served 
in  one  of  those  private  collections  where  a  single  aim  is  followed  exclusively;  but  for  him 
who  longed  for  the  European  wealth  and  abundance  of  sensations,  and  who  hardly  ex¬ 
pected  to  find  them  in  America,  Henry  Gurdon  Marquand’s  house  was  a  comforting 
place  to  visit.  He  bought  like  an  Italian  prince  of  the  Renaissance.  He  collected  for 
his  own  delight  and  for  the  enjoyment  and  instruction  of  his  many  friends.  A  noble 
Van  Dyck  portrait  appealed  to  him,  and  so  did  a  Persian  vase.  He  was  the  most  eager 
purchaser  of  a  single  newly  found  gem  of  antique  art;  he  would  chase  the  elusive  thing 
with  more  energy  than  another,  and  therefore  he  secured  the  prize.  He  felt  also  the 
impossibility  of  understanding  a  branch  of  art,  or  a  special  manufacture,  or  mode  of 
design,  without  having  many  pieces  to  represent  and  to  explain  it,  and  so  he  bought 
largely  along  some  chosen  lines.  At  one  period  he  found  that  the  ancient  enamels  of 
Limoges  were  growing  rare,  and  he  perceived  that,  rare  and  costly  then,  they  would 
soon  be  unattainable,  and  he  bought  much  and  wisely  in  that  direction.  On  the  other 
hand,  he  saw  that  the  Hispano-Moresque  dishes,  which  had  never  been  especially  sought 
for,  and  which  had  not  reached  very  high  prices  twenty  years  ago,  were  as  important  and 
as  suggestive  works  of  industrial  art  as  what  was  more  eagerly  pursued  and  more  ex¬ 
travagant  in  price,  and  he  brought  together  a  great  collection  of  those  platters. 

Still,  in  the  line  of  princely  buying,  the  adornment  of  his  house  was  not  lost  sight 
of.  The  pieces  brought  together  were,  indeed,  not  always  of  that  character  that  they 
would  make  a  large  room  more  splendid.  Many  of  them  were  delicate  little  objects  for 
the  cabinet.  You  cannot  adorn  a  room  with  Japanese  lacquers  of  price,  because  they  are 
small;  because  their  forms  are  simple  and  square;  because  their  color  is  never  vivid; 
because,  moreover,  they  must  be  kept  shut  up,  or  their  beauty  will  soon  be  marred.  Per¬ 
sian  glass,  too,  more  fantastic  in  form  and  less  translucent  than  even  the  most  decorative 
glass  of  Europe,  is  still  matter  for  the  wall-case.  But  tapestries  have  for  their  very  object 
the  adornment  of  high-walled  and  stately  apartments,  and  the  walls  of  the  great  hall 
were  hidden  by  tapestries  of  choice.  Persian  and  Spanish  tiles  were  especially  devised 
and  made  to  glow  upon  the  wall,  and,  accordingly,  one  room  of  the  principal  suite  was 
lined  with  them,  making  it  a  quasi-Moorish  room;  while  other  such  tiles,  set  in  large 


frames,  adorned  the  halls  and  the  stairway.  Chinese  porcelain,  and  particularly  that  which 
is  of  solid  color,  in  which  each  beaker,  each  bottle,  each  potiche ,  is  a  graceful  form,  wrought, 
as  it  appears,  in  solid  blue  or  in  changeable  green,  is  exceptionally  decorative,  and  if  used 
with  perfect  good  taste  is,  perhaps,  more  immediately  effective  in  the  adornment  of  a 
room  than  are  any  other  work  of  man.  Levantine  and  Persian  rugs  are  as  decorative  as 
European  tapestry,  and  even  more  splendid  in  color;  and  the  collection  of  such  rugs 
deserves,  and  has  received,  minute  analysis  and  description  in  this  catalogue.  Italian 
Cassoni  are  the  most  ornamental  pieces  of  furniture  known,  and  here  were  several  magnifi¬ 
cent  specimens  of  the  best  period.  The  grave  and  majestic  painting  of  the  seventeenth 
century,  framed  in  the  stately  way  which  the  first  owners  of  the  pictures  knew  and  loved, 
is,  of  course,  the  most  decorative  of  all  decorations;  and  there  were  such  paintings,  and 
their  framing,  as  well  as  noble  canvases  of  the  eighteenth  century.  And,  finally — because 
this  enumeration  cannot  be  continued  forever,  or  as  long  as  the  varieties  of  this  noble  col¬ 
lection  hold  out — modern  painting  of  decorative  significance  was  used  in  the  furnishings 
of  such  stately  rooms  as  the  drawing-room,  where  Sir  Alma-Tadema  and  Lord  Leigh¬ 
ton  gave  a  classical  turn  to  their  decorative  compositions,  to  harmonize  with  the  Greek 
vases  and  terra-cotta  groups,  and  the  Gneco-Roman  marbles. 

The  consequence  is  that  the  separate  rooms  of  the  house  at  Madison  Avenue  and 
Sixty-eighth  Street  were  marvels  of  splendid  variety,  differing  in  nothing  from  the  palace 
interiors  which  we  dream  of  as  existing  in  the  great  times  of  creative  art,  except  in  the 
more  moderate  size  of  the  apartments,  and  the  resulting  effect  of  brilliant  confusion,  which 
the  eye  could  resolve,  little  by  little,  into  its  coherent  parts.  It  was  not  really  confusion; 
it  was  profusion.  The  splendor  of  one  rich  work  of  art  need  never  do  harm  to  the  tran¬ 
quil  sweetness  of  another.  He  must  be  a  far  less  sagacious  student  of  art  than  was  the 
owner  of  these  treasures,  if  it  be  ever  found  in  his  beloved  rooms  that  there  is  too  much 
of  anything,  no  matter  how  much  there  may  be. 

RUSSELL  STURGIS. 


The  Catalogue  has  been  compiled  and  the  descriptions  furnished  by  the  gentlemen 
whose  names  are  given  below : 

Mr.  Charles  H.  Cajfin  has  catalogued  the  Paintings  and  the  Tapestries ;  Mr. 
Tozo  Takayanagi,  the  Japanese  Pottery  and  Lacquers ;  Mr.  John  K.  Mumford,  the  Oriental 
Rugs ;  Mr.  Roger  Riordan,  the  Limoges  Enamels ;  Greek ,  Roman ,  and  other  Glass  ;  Greek 
Ceramics ,  and  W ork  in  Metals ;  Dr.  George  N.  Olcott,  Columbia  University ,  the  Intaglios 
and  Gems ;  Mr.  FitzRoy  Carrington  ( Frederick  Keppel  &  Col),  the  Engravings  and  Etch¬ 
ings  ;  and  Mr.  J.  0.  W right,  the  Books.  The  translations  are  by  Professor  Richard  J.  H. 
Gottheil  and  Professor  Abraham  Yohannan,  of  Columbia  University. 


ORDER  OF  SALE 


ON  FRIDAY  EVENING,  JANUARY  23D,  1903 

AT  MENDELSSOHN  HALL,  Fortieth  Street,  East  of  Broadway,  beginning  promptly  at  8.30  o’clock. 
THE  VALUABLE  PAINTINGS  AND  WATER  COLORS.  Catalogue  Nos.  1  to  93,  inclusive. 

SATURDAY  AFTERNOON,  JANUARY  24th 

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FAMOUS  “ALMA-TADEMA  PIANO”;  ARTISTIC  ANTIQUE  AND  MODERN  FURNITURE, 
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LIST  OF  ILLUSTRATIONS 


The  Late  Henry  G.  Marquand.  After  a  Portrait  by  John  S.  Sargent,  R.A.  {Frontispiece) 
Peterhof 

Katz  Castle  with  Rhein/els  >  J.  M.  W.  Turner,  R.A. 

From  Ehrenbreit  stein 

Mariana :  Measure  for  Measure.  Edwin  A.  Abbey,  N.A.,  R.A. 

Peg  Woffington.  John  Russell,  R.A.  , 

The  Shy  Child.  George  Romney 
Charles  Lamb.  Sir  Henry  Raeburn,  R.A. 

Young  Shelley.  John  Hoppner,  R.A. 

Countess  of  Nottingham.  Sir  Joshua  Reynolds,  P.R.A. 

Lady  Almeria  Carpenter.  John  Hoppner,  R.A. 

The  Hon.  Mrs.  Stanhope.  Sir  Joshua  Reynolds,  P.R.A. 

Old  Mill  on  the  Yare.  “Old  Crome” 

Mrs.  Wells.  George  Romney 
Dedham  Vale.  John  Constable,  R.A. 

Mrs.  Gwyn.  John  Hoppner,  R.A. 

The  Porlington  Oak.  “Old  Crome” 

Landscape  and  Cattle.  Constant  Troyon 
Landscape.  Theodore  Rousseau 

u Amo  te ,  Ama  me.”  Sip.  Laurence  Alma-Tadema,  R.A. 

Marvell's  Last  Visit  to  Milton.  George  H.  Boughton,  N.A.,  R.A. 

A  Reading  from  Homer.  Sir  Laurence  Alma-Tadema,  R.A. 

Mural  Paintings ,  Illustrating  Music.  Lord  Leighton,  P.R.A. 

Antique  Chinese  Sang-de-boeuf  Vases 
Group  of  Antique  Chinese  Turquoise-blue  Vases 
Group  of  Antique  Chinese  Flarnb'e  Vases 
Group  of  Antique  Chinese  Peach-bloom  Specimens 
Blue  and  White  Hawthorn  Mantel  Garniture 
Japanese  Gold  Lacquers  and  Daimio  Sword 
Old  Japanese  Pottery  Statuette ,  Bowls ,  and  Vases 
Group  of  Old  Japanese  Pottery 
Old  Delft  Mantel  Garniture 
Queen  Anne ,  Old  Dutch ,  and  other  Silver 
Group  of  Ancient  Greek  and  Roman  Glass 
Antique  Persian  Glass  Lamp  and  Spanish  Glass  Vases 


Two  Antique  Illuminated  Glass  Panels 

Group  of  Antique  Greek  Ceramics 

Three  Antique  Greek  Vases 

Group  of  Ancient  Greek  Terra-cotta  Statuettes 

Ancient  Greek  Terra-cotta  Group  and  Statuettes 

Ancient  Marble  Bust  of  the  Antonines  Period 

Group  of  Antique  Persian  Pottery 

Group  of  Old  Limoges  and  other  Enamels 

Extraordinary  Limoges  Enamel  Retable.  By  Leonard  Limousin 

Antique  Golden  Lustre  Hispano-Moresque  Plates 

Two  Sixteenth  Century  Hispano-Moresque  Plates 

Madonna  and  Child.  Terra-cotta.  By  Lucca  della  Robbia 

Medallion  Head.  Terra-cotta.  By  Andrea  della  Robbia 

Boy  and  Dolphin.  Andrea  della  Robbia 

Empire  Clock  and  Bronze  Group 

Ancient  Roman  Mosaic  IV all  Panel 

Venetian  Velvet  Panel 

Fifteenth  Century  Jardiniere  Velvet  Panel 

Louis  XVth  Altar  Frontal 

Italian  Renaissance  Panel 

Specimen  of  Italian  Ecclesiastical  Needlework 

Color  Plate  of  Old  Silk  Rug  of  Middle  Persia 

Color  Plate  of  Old  Persian  Silk  Rug 

Color  Plate  of  Fifteenth  Century  Royal  Persian  Rug 

Color  Plate  of  Old  Lari st an  Rug 

Color  Plate  of  Sixteenth  Century  Persian  Carpet 

One  of  a  Series  of  Six  Renaissance  Tapestries 

Rare  Spanish ,  Sixteenth  Century  Cloth-of-gold  Tapestry 

Grand  Gobelins  Tapestry ,  “  La  Gerusalemme  Liber ata.”  Duke  of  Hamilton  .Collection 

One  of  a  Set  of  Four  Portuguese  Tapestries ,  illustrating  the  Siege  of  Troy 

Antique  Ivory  Cabinet  engraved  in  Niello 

Old  Oriental  Cabinet  inlaid  with  Mother-of-Pearl 

Group  of  Old  English  Carved  Chairs 

Famous  Piano.  Designed  by  Sir  Laurence  Alma-Tadema,  R.A. 

Piano  Frontal ,  w  The  Wandering  Minstrel.”  By  Sir  Edward  J.  Poynter,  P.R.A. 

Grand  Bronze  Fender.  Designed  by  Sir  Laurence  Alma-Tadema,  R.A.,  and  modelled  by 

Onslow  Ford,  A. R.A. 

Eight  Rare  Old  Mezzotintos.  After  Sir  Joshua  Reynolds,  P.R.A. 


BIOGRAPHICAL  NOTES  AND  INDEX 


ABBEY  (Edwin  Austin),  n.a.,  r.a. 

Born  in  Philadelphia,  1852.  After  completing  the  course  at  the  Pennsylvania 
Academy  he  accepted  an  engagement  with  the  publishing  house  of  Harper  &  Brothers. 
His  drawings  in  illustration  of  Herrick's  poems  and  of  the  old  English  comedies  estab¬ 
lished  at  once  the  charm  and  originality  of  his  method  in  black  and  white,  and  were 
followed  by  a  series  of  Shakespearean  drawings.  Visiting  England  in  1883  in  search 
of  material  for  these  drawings,  he  took  up  his  abode  there,  and  has  for  many  years  resided 
at  Fairford  Hall  in  Oxfordshire.  His  skill  in  water  colors  is  remarkable ;  and  when  he 
turned  his  attention  to  oil  painting  he  speedily  won  recognition  in  that  medium  also. 
His  favorite  subjects  have  been  drawn  from  old  English  and  Italian  sources,  especially 
from  Shakespeare,  and  he  is  to-day  the  foremost  painter  of  historical  subjects  among 
English-speaking  artists.  The  Trustees  of  the  Boston  Library  awarded  him  a  commis¬ 
sion  for  the  decoration  of  the  Delivery  Room,  in  which  he  has  commemorated  scenes 
from  the  Legend  of  the  Holy  Grail,  and,  more  recently,  he  received  an  appointment  from 
the  King  of  England  to  paint  the  picture  of  the  Coronation  ceremony. 

22  —  Mariana:  Measure  for  Measure 


ADAN  (Louis  Emile) 

Born  in  Paris,  1839.  A  pupil  of  Picot  and  Cabanel  at  the  Ecole  des  Beaux  Arts. 
Gold  medal  at  the  Exposition  Universelle  of  1889. 

53  —  Out  for  a  Walk 


ALMA-TADEMA  (Laura) 

Wife  of  Sir  Laurence  Alma-Tadema,  nee  Miss  Laura  Epps. 


46  —  In  Good  Hands 


ALMA-TADEMA  (Sir  Laurence),  r.a. 

Born  at  Dronryp,  Friesland,  1836.  He  was  educated  at  the  gymnasium  of  Leeu- 
warden,  where  he  conceived  a  passion  for  Egyptian  and  Grceco-Roman  archeology. 
Later  he  entered  the  Antwerp  Academy,  and  also  studied  under  Baron  Leys.  He  began 
to  exhibit  at  the  Royal  Academy  in  1865,  and  five  years  later  married  Miss  Laura  Epps, 
an  English  lady,  moved  to  London,  and  built  himself  a  noble  Pompeian  house  in  St. 
John's  Wood.  He  is  an  officer  of  the  Legion  and  a  member  of  the  Academies  of  Am¬ 
sterdam,  Munich,  Berlin,  Stockholm,  Vienna,  and  Madrid.  He  was  elected  a  Royal 
Academician  in  1879.  No  modern  painter  has  a  profounder  knowledge  of  the 
form  and  fashion  of  the  antique  world,  or  has  reproduced  it  with  more  charm  of  veri¬ 
similitude. 

45  —  “  Amo  te,  ama  me” 

88 _ A  Reading  from  Homer 


BARILLOT  (Leon) 

Born  at  Montigny-les-Metz,  Lorraine,  France,  1844.  A  pupil  of  Bonnot,  he 
won  the  gold  medal  at  the  Exposition  Universelle  of  1889,  the  Grand  Prix  at  the  Exposi¬ 
tion  Universelle  at  Lyons  in  1895,  and  is  represented  in  the  Luxembourg  and  many  of 
the  museums  in  France. 

62  —  Cows  Drinking 


BECKWITH  (J.  Carroll),  n.a. 

Born  at  Hannibal,  Missouri,  1852.  A  pupil  of  Carolus  Duran  and  of  the  Ecole 
des  Beaux  Arts,  he  first  made  his  reputation  in  this  country  by  a  figure  subject,  “  The 
Christian  Martyr,"  exhibited  in  the  National  Academy  in  1881,  and  has  since  obtained 
distinction  as  a  portrait  painter. 

77 —  A  Summer  Evening 


BENSON  (Eugene),  a. n.a. 

Born  at  Hyde  Park,  New  York,  1839.  At  first  a  pupil  of  the  National  Acad¬ 
emy,  and  of  J.  H.  Wright,  he  later  studied  in  Paris  and  Venice.  He  has  made  long 
stays  in  Italy,  painting  particularly  in  Florence,  Venice,  and  Rome. 


65  —  At  Biri  Grande 


BLASHFXELD  (Edwin  Howland),  n.a. 

Born  in  New  York,  1848.  Visiting  Europe  in  1867,  he  studied  with  Bonnat,  and 
remained  abroad  eleven  years,  spending  a  considerable  time  in  Italy.  His  work  has 
included  figure  subjects  and  mural  decoration.  In  the  latter  metier  he  executed  some 
panels  as  jar  back  as  1884,  received  a  commission  at  the  Chicago  World's  Fair,  and 
since  that  date  has  been  steadily  employed  upon  important  works  in  public  buildings 
and  private  houses. 

82  —  The  Sculptor’s  Model 

BODMER  (Karl) 

Born  in  Zurich,  Switzerland,  1805.  A  pupil  of  Cornu,  he  devoted  himself  to 
landscapes,  and  particularly  to  wooded  ones.  In  company  with  Prince  Von  Neuwied 
he  visited  America.  He  was  awarded  the  Ribbon  of  the  Legion  in  1876. 

47 —  A  Pool  in  the  Forest 

BOUGHTON  (G  EORGE  H.),  N. A. ,  A.R.A. 

Born  near  Norwich,  England,  1834.  He  was  brought,  when  three  years  old,  to 
the  United  States,  the  family  settling  at  Albany,  N.  Y.  As  a  boy  he  taught  himself  to  draw 
and  paint,  and  in  1853  was  able  to  make  a  sketching  tour  through  the  English  Lake 
country,  Scotland,  and  Ireland.  In  1858  he  moved  from  Albany  to  New  York,  and  two 
years  later  went  to  Paris,  where  he  enjoyed  the  friendship  of  Edouard  Frere.  Since 
1861  he  has  made  his  home  in  London,  where,  in  the  Royal  Academy  Exhibition  of  1863, 
he  made  his  frst  notable  success  with  “  Through  the  Fields"  and  “  The  Hop-Pickers 
Returning."  He  has  shown  a  partiality  for  subjects  derived  from  the  early  days  of  the 
American  colonies,  and  these  have  won  him  an  enviable  reputation  on  both  sides  of 
the  Atlantic. 

68  —  Black-eyed  Susan 

84 — The  Cronies 

86  —  Marvell’s  Last  Visit  to  Milton 

93  —  A  Golden  Afternoon,  Luccombe  Chine,  Isle  of  Wight 


CAIN  (Georges  Jules  Auguste) 

Born  in  Paris,  1856.  A  pupil  of  Cabanel  and  Detaille,  he  gained  a  bronze  medal 
at  the  Exposition  Universelle  of  1889,  and  has  collaborated  in  all  the  great  illustrated 
journals  of  Paris,  and  has  illustrated  several  books. 


51  —  His  Eminence 


CHURCH  (F.  S.),  n.a. 

Born  at  Grand  Rapids,  Michigan,  1842.  He  first  studied  at  the  Chicago  School  of 
Art,  and  later  at  the  School  of  the  National  Academy ;  hut  his  theory  and  practice  of  color, 
like  the  fanciful  treatment  of  animals  which  provided  him  with  subject,  are  thoroughly 
original.  He  is  a  member  of  the  National  Academy,  of  the  American  Water-Color 
Society,  and  of  the  New  York  Etching  Club. 

71 — The  Enchantress 


COLE  (Thomas),  n.a. 

Born  at  Bolton-le-Moor,  England,  1801.  He  came  with  his  family  to  the  United 
States  when  he  was  eighteen  years  old,  and  settled  in  Ohio.  Here  he  learned  the  rudi¬ 
ments  of  painting  from  a  portrait  painter  named  Stein,  and,  after  studying  nature  under 
great  diffculties,  made  his  way  to  New  York  in  1825,  bringing  himself  gradually  into 
notice  by  his  pictures  of  the  Hudson.  He  made  several  visits  to  England,  France,  and 
Italy,  and  his  pictures  were  as  much  appreciated  in  the  first-named  country  as  in  that 
of  his  adoption.  Especially  popidar  were  his  two  series  of  allegorical  pictures,  “  The 
Course  of  Empire ”  and  “  The  Voyage  of  Life."  He  died  near  Catskill,  New  York, 
in  1848. 

81  —  A  Roman  Aqueduct 


COLEMAN  (Charles  Caryll),  a. n.a. 

Born  at  Buffalo,  New  York,  1840.  He  visited  Europe  in  1859,  and  again  in 
1866,  since  which  date  he  has  resided  abroad,  having  a  studio  in  London  for  some  time, 
and  then  settling  in  the  Island  of  Capri. 

74 — A  Capri  Meadow 
75  —  A  Scene  in  Capri 


COLMAN  (Samuel),  n.a. 

Born  in  Portland,  Maine,  1832.  With  some  assistance  from  A.  B.  Durand  his 
early  training  was  self-acquired.  In  i860,  after  being  elected  an  Associate  of  the  Na¬ 
tional  Academy,  he  set  out  for  two  years’  study  in  Paris  and  Spain.  Again,  in  1871, 
he  made  an  extensive  tour  of  study  in  Europe  and  North  America.  In  1866  he  was 
elected  first  president  of  the  American  Water-Color  Society,  a  position  which  he  held 
for  five  successive  terms. 


18  —  Grand  Canon  of  the  Colorado. 


CONSTABLE  (John),  r.a. 

Born  in  177 6,  at  East  Bergholt,  Sussex ,  fourteen  miles  from  the  birthplace  of  Gains¬ 
borough.  Son  of  a  well-to-do  miller,  he  was  destined  for  the  Church ,  but  preferred  the 
occupation  of  his  father ,  meanwhile  receiving  instruction  in  drawing  from  a  certain 
Dunthorne,  who  gave  his  instruction  always  in  the  open  air.  Finally  deciding  to  be  a 
painter,  he  entered  the  Academy  schools  at  the  age  of  twenty-four,  and  exhibited  his  first 
picture  two  years  later.  He  studied  the  works  of  Ruysdael  in  the  National  Gallery, 
from  which  he  came  to  the  conclusion  that  London  could  help  him  little  in  his  art,  and 
that  it  was  nature  which  he  must  study,  and  particularly  nature  along  the  banks  of  his 
native  Stour,  which  in  after  years  he  averred  had  made  his  desire  to  be  a  painter.  He 
set  himself  right  in  the  midst  of  green  landscape,  and  was  the  first  to  remove  every  kind 
of  adaptation  and  arbitrary  arrangement  in  composition,  and  to  paint  not  only  what  he 
saw,  but  in  such  a  way  as  to  convey  the  impression  of  how  he  saw  it.  Especially  did  he 
advance  the  study  of  light  and  air,  and  for  the  first  time  the  atmosphere  moves  and  has  its 
being  in  painted  landscape.  He  was  ahead  of  his  time,  anticipating  the  triumphs  of 
the  painters  of  Barbizon,  on  whom  his  influence  was  undeniable.  He  was  happily 
married,  and  a  legacy  to  his  wife,  sufficient  for  their  modest  needs,  enabled  him  to  work, 
as  he  said,  for  the  future.  He  was  elected  to  the  Royal  Academy  in  1837.  His  faith  in 
the  judgment  of  posterity  has  been  abundantly  justified,  and  he  is  now  recognized  as 
the  first  and  one  of  the  foremost  masters  of  the  paysage  intime. 

35  —  Dedham  Vale 

COROT  (Jean  Baptiste  Camille) 

Born  in  Paris,  1796.  The  son  of  a  court  modiste,  Corot  was  destined  for  trade,  but 
at  length  was  permitted  to  study  art  by  his  father,  who  allowed  him  an  annuity  of  twelve 
hundred  f  rancs.  From  the  studio  of  Michallon  he  passed  to  that  of  Bertin,  with  whom 
he  also  made  his  first  visit  to  Italy.  With  figure  subjects  and  landscape  in  the  classical 
manner  he  made  his  entrance  at  the  Salon  and  obtained  sundry  honors.  In  1843, 
however,  after  his  return  from  his  third  visit  to  Italy,  he  came  under  the  influence  of 
Rousseau  and  was  led  by  him  to  recognize  the  •  beauty  of  the  French  landscape. 
Though  nearly  fifty,  he  set  to  work  as  a  student,  and  during  the  next  eight  years 
gradually  reached  that  style  of  delicate  truth  to  nature  and  of  exquisite  poetry,  in 
which  he  is  unapproachable .  Twenty-five  years  were  still  in  store  for  him,  and  dur¬ 
ing  these  he  produced  his  masterpieces.  Devoted  to  music  and  to  his  friends,  Pere 
Corot  retained  his  youth  to  the  end,  which  came  peacefully  in  1875. 

37  —  Classic  Landscape 
COX  (Kenyon),  n.a. 

Born  at  Warren,  Ohio,  1856.  After  studying  at  Cincinnati,  he  proceeded  to  the 
schools  of  the  Pennsylvania  Academy,  whence  he  advanced  to  the  studios  of  Carolus 
Duran  and  Gerome.  His  stay  in  Europe  extended  from  1877  to  1882,  when  he  returned 
to  New  York,  where  he  has  been  actively  engaged  as  a  teacher  and  painter  and  in 
literary  work  dealing  with  artistic  subjects. 

79  —  On  the  Edge  of  the  Brook 


CROME  (J  ohn),  (“Old  Crome”) 

Born  at  Norwich,  1769.  The  son  of  a  journeyman  weaver,  he  was  in  due  course 
apprenticed  to  a  coach  painter.  His  spare  time  was  spent  in  drawing  the  scenery 
around  his  native  city,  and  after  the  expiration  of  his  apprenticeship  he  determined 
to  be  a  painter.  He  eked  out  his  scanty  resources  by  giving  lessons  in  drawing  and 
painting.  In  1805  he  founded  the  Norwich  School  of  Art,  of  which  Vincent,  Stark, 
and  Cotman  were  the  other  leading  representatives.  In  later  life  he  visited  Paris  and 
studied  with  eagerness  the  Dutch  landscapes  in  the  Louvre.  Hobbema  was  his  idol, 
and  his  own  work  is  a  direct  and  exact  realism,  pictorially  arranged  in  a  harmony  of 
brown  tones  under  the  influence  of  the  Dutch.  He  painted  with  extraordinary  skill, 
and  had  a  special  fondness  for  the  oak.  He  died  in  the  city  where  he  had  spent  his 
whole  life,  in  1821.  ' 

27  —  Landscape  with  Cottage 

33 — Old  Mill  on  the  Yare 

38  —  The  Porlington  Oak 

DECAMPS  (Alexandre  Gabriel) 

Born  in  Paris,  1803.  At  first  a  pupil  of  David  and  Ingres,  he  freed  himself 
from  classic  principles  of  style  and  from  imitation  of  the  antique.  As  a  boy  he  had 
spent  several  years  upon  a  farm,  and  the  love  of  nature  was  strong  within  him.  In 
1827  he  accompanied  Garner  ay,  a  marine  painter,  to  Constantinople  and  Asia  Minor, 
and  his  journey  proved  a  voyage  of  discovery  for  French  painting.  He  dared  to  paint 
what  he  saw,  and  saw  everything  through  the  vision  of  a  true  painter,  fascinated  by  color 
and  light,  and  in  a  spirit  of  dreamy  mystical  poetry.  His  death  occurred  at  Fontaine¬ 
bleau  in  i860. 

41  —  Landscape 

44 — The  Beggar 

DESCHAMPS  (Louis) 

Born  at  Monte limar,  France,  1846.  Pupil  of  Cabanel  at  the  Ecole  des  Beaux 
Arts,  he  has  exhibited  at  the  Salon  since  1875.  Represented  in  the  Luxembourg.  Bronze 
medal,  Exposition  Universelle,  1889. 

56 — An  Appeal 

DESGOFFE  (Blaise  Alexandre) 

Born  in  Paris,  1830.  Pupil  of  Flandrin,  and  a  most  skilful  delineator  of  objects 
of  still  life  at  near  view,  his  subjects  being  finished  with  microscopic  exactness. 


48  —  Still  Life 


DUTZSCHHOLD  (H  ENRl) 

Born  in  Paris,  1841.  Landscape  painter,  pupil  of  Gerome  and  Veron.  Medal 
of  the  third  class,  1882. 

63  —  Ruins  of  a  Roman  Theatre 

ELEY  (May) 

21  —  Children  and  Puppy 

ETTY  (William),  r.a. 

Born  at  York  in  1787.  After  serving  apprenticeship  to  a  printer  in  Hull,  he 
visited  an  uncle  in  London,  through  whose  generosity  he  was  enabled  to  enter  the 
Academy  schools  and  to  become  a  pupil  of  Lawrence.  He  persevered  in  the  face  of 
great  difficulties,  and  finally,  in  1811,  had  a  picture  accepted  at  the  Royal  Academy 
Exhibition.  In  1822  he  visited  Italy,  and  in  1828  was  elected  a  Royal  Academician. 
He  died  unmarried,  in  1849. 

57 —  The  Toilet 

FARNETZ  (I.) 

64 —  A  River  Scene 

FRANCAIS  (F.  L.) 

Born  at  Plombieres  (Vosges),  1814.  Pupil  of  Gigoux  and  Corot.  Received  a 
medal  of  third  class,  1841 ;  first  class,  1848,  1855,  and  1867.  Medal  of  honor,  1878; 
Legion  of  Honor,  1853,  and  was  made  an  officer  of  the  same,  1867. 

60  —  Landscape 

FRERE  (Edouard) 

Born  in  Paris,  1819.  He  was  a  pupil  of  Paid  Delaroche  and  of  the  Ecole  des 
Beaux  Arts,  but  it  was  in  retreat  at  the  little  village  of  Ecouen  that  he  gradually  evolved 
for  himself  and  the  many  students  who  sought  his  advice  the  style  of  genre  painting  that 
distinguishes  him.  It  was  founded  upon  the  Dutch  masters  and  influenced  in  feeling 
by  Millet — simple  scenes  of  peasant  life,  studied  with  affectionate  intimacy,  and  repre¬ 
sented  with  delicacy  of  tone  and  light;  sometimes  a  little  sentimental,  but  for  the  most 
part  tenderly  poetic.  His  pictures  had  a  great  vogue,  and  no  little  influence  upon  the 
course  of  genre  painting  in  Europe.  He  died  in  1886. 

59  —  Youthful  Curiosity 


FROMENT  (Eugene) 

Born  in  Paris,  1820.  Pupil  of  Jollivet,  Lecomte,  and  Amaury -Duval.  Legion 
of  Honor,  1863. 

52 — A  Spray  of  Loves 
GAINSBOROUGH  (Thomas),  r.a. 

Born  at  Sudbury,  in  Suffolk,  1727.  He  attended  the  local  grammar  school, 
but  making  small  progress  in  learning,  was  placed  with  a  goldsmith  in  London,  who 
introduced  him  to  Gravelot,  an  engraver.  The  latter  instructed  him  in  drawing, 
and  obtained  for  him  admission  to  the  St.  Martin's  Lane  Academy.  After  study¬ 
ing  for  three  years  he  hired  rooms  in  Hatton  Gardens,  and,  while  waiting  for 
customers,  executed  a  few  small  landscapes  which  he  sold  to  the  dealers.  Meeting 
with  no  success  in  London,  he  returned  to  Sudbury  in  1745,  and  married  Mary  Burr, 
who  had  an  annuity  of  two  hundred  pounds.  After  living  fifteen  years  in  Ipswich, 
he  moved  to  Bath,  where  his  success  as  a  portrait  painter  was  pronounced.  During 
the  fourteen  years  of  his  stay  in  that  city  he  contributed  regularly  to  the  Royal  Academy 
exhibitions,  so  that  when  he  migrated  in  1784  to  London  and  rented  part  of  Schomburg 
House,  Pall  Mall,  he  ivas  welcomed  as  the  rival  of  Reynolds  in  portraiture  and  of 
Wilson  in  landscape.  He  was  devoted  to  music  and  the  simple  delights  of  domestic  life. 
In  1788,  upon  his  deathbed,  he  sent  for  Sir  Joshua.  “We  are  all  going  to  heaven," 
he  whispered,  “and  Van  Dyck  is  of  the  party."  By  his  request  he  was  buried  in 
the  churchyard  at  Kew. 

23  —  Shepherd  Boys 


GIFFORD  (R.  Swain),  n.a. 

Born  on  the  Island  of  Naushon,  Massachusetts,  1840.  In  1864  he  studied  in  New 
Bedford  under  the  marine  painter,  Albert  van  Beest,  and  two  years  later  settled  in 
New  York,  where  he  practised  as  a  landscape  painter  and  etcher.  He  made  sketching 
tours  in  California  and  Oregon  in  1869,  and  through  Europe  and  North  Africa  in 
1870,  and  again  four  years  later.  He  was  one  of  the  founders  of  the  American  W ater- 
Color  Society  in  1866,  and  is  also  a  member  of  the  British  Society  of  Painter -Etchers. 

66 — A  Newport  Landscape 
69  —  Rocky  Farm,  Newport 


GOB  (R.) 

49 — The  Moon 


HOPPNER  (John),  r.a. 

Born  in  Whitechapel,  London,  1759,  of  German  descent.  At  first  a  chorister 
in  the  Chapel  Royal,  he  studied  art  at  the  Academy  schools,  became  an  Associate  of  the 
Royal  Academy  in  1793,  and  a  full  member  a  few  years  later.  Under  the  patronage 
of  the  Prince  of  W ales  he  rose  rapidly  as  a  fashionable  portrait  painter,  and  found 
a  rival  only  in  Lawrence.  Basing  his  style  upon  that  of  Sir  Joshua  Reynolds,  he 
maintained,  notwithstanding,  an  originality  of  his  own,  and  was  particularly  happy 
in  his  rendering  of  women  and  children.  In  1803  he  published  “A  Series  of  Portraits 
of  Ladies  of  Rank  and  Fashion,  ’  ’  engraved  from  his  own  paintings.  His  death 
occurred  in  1810. 

29  —  Portrait  of  Young  Shelley 

31  —  Portrait  of  Lady  Almeria  Carpenter 

36  —  Portrait  of  Mrs.  Gwyn 


JOHNSON  (E  astman),  n.a. 

Born  in  Lovell,  Maine,  1824.  While  quite  young  he  executed  portraits  in  crayon, 
and  in  1845  was  working  at  Washington,  and  later  at  Cambridge  and  Boston.  In  1849 
he  went  abroad  and  studied  under  Leutze  at  Diisseldorf,  afterwards  painting  in  Italy, 
Paris,  and  The  Hague.  Returning  to  New  York,  he  was  elected  an  Academician  in  i860, 
and  established  his  reputation  both  in  portraiture  and  genre  subjects,  representing 
scenes  in  American  life. 

58 — The  Dull  Scholar 


KEAJDER  (A.) 

72  —  Flowers 


KENSETT  (John  Frederick),  n.a. 

Born  in  Cheshire,  Connecticut,  March  22,  1818  ;  died  in  New  York,  December  16, 
1872.  Landscape  painter.  After  studying  engraving  under  Daggett,  he  spent  seven  years 
abroad  (1840-1847),  painting  in  England,  Rome,  Naples,  Switzerland,  on  the  Rhine, 
and  among  the  Italian  lakes.  First  exhibited  at  Royal  Academy,  London,  in  1845. 
Elected  National  Academician  in  New  York  in  1849.  In  1859  he  was  appointed 
member  of  the  commission  to  superintend  the  decoration  of  the  Capitol  at  Washington. 

87  —  Windsor  Castle 


LEIGHTON  (Sir  Frederick,  Bart.),  p.r.a. 

Born  at  Scarborough,  England,  1830.  When  eleven  years  old  he  learned  drawing 
in  Rome  under  Francesco  Meli,  and  later  pursued  his  studies  at  the  Academies  of 
Berlin  and  Florence;  under  E.  Steinle,  Frankfort;  at  Brussels,  and  at  the  Louvre  Life 
School  in  Paris.  In  1855  he  sent  to  the  Royal  Academy  “  The  Procession  of  Cimabue,” 
which  was  purchased  by  the  Queen.  After  this  success  he  resided  for  four  years  in 
Paris,  studying  part  of  the  time  under  Ary  Scheffer  and  sending  pictures  to  the  Royal 
Academy.  He  was  elected  an  Associate  in  1864,  and  an  Academician  in  1869;  nine 
years  later  being  knighted  upon  his  election  as  President.  In  1885  he  was  created  a 
baronet.  He  travelled  extensively ,  was  a  fine  scidptor  and  musician,  a  linguist,  and 
accomplished  man  of  the  world,  and  his  studio  at  Kensington  was  filled  with  treasures 
of  art.  He  died  in  1896,  and  was  buried  in  St.  Paul's  Cathedral. 

90,  91,  92  —  A  Mythological  Triptych  Illustrating  Music 


LORING  (Mv 

13  —  Schooner  at  Low  Tide 


MADRAZO  (Raimundo  de) 

Born  in  Rome,  1841.  First  instructed  by  his  father  Federico,  head  of  the  Spanish 
Academy  in  Rome,  he  afterwards  entered  the  Ecole  des  Beaux  Arts  in  Paris,  and  also 
studied  under  Leon  Cogniet.  In  1878  he  was  awarded  a  medal  of  the  first  class  and 
the  Ribbon  of  the  Legion.  A  brother-in-law  of  Fortuny,  he  exhibits  much  of  the  latter's 
skill  in  scintillating  color,  and  can  lavish  on  his  pictures  a  captivating  rococo  grace,  or 
introduce  with  taste  and  deftness  symphonic  schemes  of  color,  as  in  the  “  Girl  in  Red," 
exhibited  at  Alunichin  1883,  or  in  the  “ Pierrette "  of  the  Exposition  Universelle  of 
1889. 

50  —  St.  Elizabeth  of  Hungary 
85  —  A  Spanish  Beauty 


MARTIN  (Henri  Jean  Guillaume) 

Born  at  Toulouse,  he  became  a  pupil  of  Jean  Paul  Laurens.  He  received  a  medal 
of  the  first  class,  1883,  and  a  gold  medal  at  the  Exposition  Universelle  of  1889  and  of 
1900,  and  the  Ribbon  of  the  Legion  in  1898. 


76  —  Sunshine  and  Shadow 


MEMPES  (Mortimer  L.) 

An  English  painter  of  remarkable  versatility,  who  has  travelled  much  and  dis¬ 
tinguished  himself  as  an  etcher,  as  well  as  in  oil  and  water  color. 

1  —  Treasure  Trove 

3  —  Waiting  for  the  Boats 

MERSON  (Luc  Olivier) 

Born  at  Paris,  1846.  A  pupil  of  Pils  at  the  Ecole  des  Beaux  Arts,  he  won  the 
Grand  Prix  de  Rome  in  1869.  He  was  awarded  a  gold  medal  at  the  Exposition 
Universelle  of  1889,  and  since  1892  has  been  a  member  of  the  French  Academy  of  the 
Fine  Arts. 

80 — Diana 

MILLET  (Frank  D.),  n.a. 

Born  at  Mattapoisett,  Massachusetts,  1846.  He  studied  under  Van  Lerius  and 
de  Keyser  at  the  Antwerp  Academy,  where  he  gained  medals  of  honor  in  1872  and 
1873.  He  travelled  and  painted  in  Belgium,  Italy,  France,  and  Austria,  and  at  the 
Expositions  of  1878  and  1900  represented  America  on  the  Art  Jury.  He  acted  as 
war  correspondent  for  a  London  daily  during  the  Russo-Turkish  War,  and  more 
recently  filled  a  similar  position  for  “  Harper's  Weekly  "  at  Manila.  For  many  years 
he  has  made  his  home  in  the  little  village  of  Broadway,  in  Worcestershire,  England. 

2  —  Roman  Maiden 

67  —  A  Knickerbocker  Citizen 

MOROT  (Aim£  Nicolas) 

Born  at  Nancy,  1850.  Pupil  of  Cabanel  at  the  Ecole  des  Beaux  Arts,  he  won  the 
Grand  Prix  de  Rome  in  1875  ;  Medal  of  Honor,  1880  ;  Grand  Prix  at  the  Exposition 
Universelle,  1889. 

83  —  When  the  World  was  Young 

PARSONS  (Alfred),  a.r.a. 

Born  in  Somersetshire,  England,  1847.  An  exquisite  draughtsman,  he  was  for 
some  time  a  contributor  to  “  Harper's  Magazine."  With  the  exception  of  a  visit  paid 
to  Japan  he  has  painted  chiefly  in  England. 

7  —  Eton  College 

9  —  Tintern  Abbey 

20 — An  English  Landscape 


PARSONS  (C  HARLEs),  A.N.A. 

Born  in  England,  1821.  He  migrated  to  the  United  States  and  became  a  pupil  of 
the  National  Academy.  For  a  time  he  was  the  art  director  of  the  publishing  house  of 
Harper  &  Brothers,  and  has  been  a  constant  exhibitor  at  the  exhibitions  of  the  Academy 
and  the  Water -Color  Society. 

11  —  An  English  Village 


PETTENKOFEN  (August  von) 

Born  in  Vienna  in  1821.  He  was  brought  up  on  his  father's  estate  in  Galicia  and 
became  a  cavalry  officer.  Having  served  his  time,  he  resolved  to  study  art,  and  went 
to  Paris,  where  the  work  of  Alfred  Stevens  opened  his  eyes  to  the  truly  pictorial  treat¬ 
ment  of  genre  subjects.  He  returned  to  Austria,  an  innovator,  and  spending  his  sum¬ 
mers  near  the  little  town  of  Spolnok  on  the  Theiss,  to  the  east  of  Budapest,  devoted 
himself  to  portraying  the  actual  life  of  the  country  people,  with  a  special  partiality  for 
the  soldier  as  a  subject.  A  quiet  realism,  expressed  in  delicate  chords  of  color,  distin¬ 
guishes  his  work.  He  became  a  member  of  the  Vienna  Academy  and  one  of  its  pro¬ 
fessors,  and  was  knighted  in  1876.  His  death  took  place  in  1889. 

39  —  La  Charrette  des  Blesses 


RAEBURN  (Sir  Henry),  r.a. 

Born  at  Stockbridge,  near  Edinburgh,  1756.  Apprenticed  to  a  goldsmith,  he 
worked  also  at  miniature  painting,  and  later  at  portraits  in  oil,  copying  the  works  of 
David  Martin.  Marrying  a  lady  of  means,  he  was  enabled  to  visit  London,  and  by  the 
advice  of  Sir  Joshua  Reynolds  studied  in  Italy.  In  1 780  he  returned  to  Edinburgh,  and 
soon  won  high  rank  as  the  foremost  painter  in  Scotland.  He  was  elected  to  the  presidency 
of  the  Scottish  Academy  and  to  full  membership  in  the  Royal  Academy.  On  the  occa¬ 
sion  of  George  IV. ’s  visit  to  Edinburgh  in  1822,  he  was  knighted  and  appointed  his 
Majesty's  Limner  for  Scotland,  dignities  that  he  did  not  live  long  to  enjoy,  for  he  died 
the  following  year. 

28  —  Portrait  of  Charles  Lamb 


RENARD  (H.  Constantin) 
73  — Still  Life 


REYNOLDS  (Sir  Joshua),  p.r.a. 

Born  at  Plympton,  in  Devonshire,  July  16,  1723.  At  the  age  of  seventeen  he  was 
apprenticed  to  Hudson,  the  portrait  painter,  in  London.  Two  years  later  he  set  up 
a  studio  at  Devonport,  moving  in  1744  to  London.  In  1749  his  friend  and  patron 
Commodore  ( afterwards  Admiral)  Keppel,  took  him  to  Italy  in  the  “  Centurion.”  He 
spent  two  years  in  Rome,  later  visiting  Florence,  Venice,  and  other  cities.  At  first 
unable  to  appreciate  the  work  of  Raphael,  he  became  an  ardent  admirer  of  that  master 
and  of  the  great  Italian  colorists,  subsequently  basing  his  own  style  on  the  re¬ 
sult  of  his  studious  research.  Upon  his  return  to  London  in  1753,  his  success  was 
immediate  and  assured.  He  founded  the  famous  Chib,  whose  membership  included 
Johnson,  Goldsmith,  Fox,  Sheridan,  Burke,  Dr.  Burney,  Malone,  and  Steevens.  In 
1768  he  became  the  first  President  of  the  Royal  Academy,  then  newly  founded,  and  in 
the  following  year  was  knighted.  In  1781,  and  again  in  178 3,  he  visited  the  Low 
Countries,  and  his  criticisms  on  the  Dutch  and  Flemish  masters  anticipated  in  breadth 
and  shrewdness  the  subsequent  work  of  Fromentin.  His  “ Discourses”  at  the  annual 
meetings  of  the  Academy  were  equally  admirable  in  style  and  matter.  He  died  on 
February  23,  1792,  and  was  buried  in  St.  Paul's  Cathedral. 

30  —  Portrait  of  the  Countess  of  Nottingham 
32  —  Portrait  of  the  Hon.  Mrs.  Stanhope 

ROMNEY  (G  eorge) 

Born  December  15,  1734 ,  near  Dalton-le-Furness,  Cumberland,  England,  the  son 
of  a  cabinet  maker.  He  worked  for  a  short  time  with  a  local  painter,  Steele,  then 
married  Alary  Abbott,  of  Kirkland,  and  settled  as  a  portrait  painter  at  Kendal,  in  West¬ 
moreland.  Having  saved  a  hundred  pounds  he  set  out  for  London,  leaving  his  wife 
and  two  children  behind.  In  the  capital  his  progress  was  steady  until  he  became  a 
serious  rival  of  the  great  Reynolds.  With  the  miniature  painter  Ozias  Humphrey 
he  visited  Italy  in  1773,  where  he  copied  the  frescoes  and  cartoons  of  Michel  Angelo 
and  Raphael,  and  studied  the  painting  of  Titian.  Upon  his  return  to  London  he 
took  a  large  house  in  Cavendish  Square,  and  for  twenty  years  enjoyed  a  career  of  con¬ 
spicuous  success,  though  the  mutual  antipathy  that  he  shared  with  Reynolds  kept  him 
from  ever  exhibiting  at  the  Royal  Academy.  Attracted  by  the  beauty  of  a  waitress 
in  a  coffee  house,  he  induced  her  to  become  his  model,  and  later  his  mistress.  He 
painted  his  Emma  in  a  vast  variety  of  characters  until  her  fickle  affections  were 
won  by  his  patron,  Sir  William  Hamilton,  who  made  her  his  wife.  Subsequently  as 
Lady  Hamilton  she  fascinated  the  heart  of  Nelson,  at  Naples,  where  her  husband  was 
ambassador.  The  loss  of  the  “ divine  lady,”  as  Romney  loved  to  call  her,  broke  the 
health  and  spirit  of  the  artist.  In  a  dying  state  he  returned  to  his  wife,  whom  he  had 
so  long  forgotten,  and  she  tended  him  to  the  end,  which  came  on  November  15,  1802. 


26 — The  Shy  Child 

34 — Portraits  of  Mrs.  Wells 


ROUSSEAU  (Theodore) 

Born  in  Paris,  1812.  He  had  an  early  taste  for  mathematics  and  is  said  to  have 
intended  to  become  a  pupil  of  the  Poly  technique,  but  entered  instead  the  studio  of 
Lethi'ere.  Failing  to  secure  the  Prix  de  Rome,  he  repaired  to  the  Plain  of  Mont¬ 
martre,  and  his  first  picture,  exhibited  in  1826,  “  The  Telegraph  Tower,"  pro¬ 
claims  his  nature  study.  In  1833  he  made  his  first  visit  to  Fontainebleau,  and  the 
following  year  painted  his  first  masterpiece,  “  Cotes  de  Grandville.  ”  He  received  a  third- 
class  medal  at  the  Salon,  but  for  the  following  fourteen  years  was  rejected  from  the  exhibi¬ 
tions.  Even  after  the  Revolution  of  1848,  his  green  pictures  were  hailed  as  “ spinach," 
and  it  was  not  until  the  Exposition  of  1855  that  the  world  acknowledged  him  as  belonging 
to  the  class  of  Ruysdael,  Hobbema,  and  Constable.  His  last  years  were  darkened 
by  domestic  calamity.  He  had  married  a  young  woman  of  the  Forest,  and  when  she  was 
seized  with  madness,  he  spent  his  strength  in  tending  her.  When  finally  the  officer  ship  of 
the  Legion,  which  was  his  due  for  serving  as  President  of  the  Jury  at  the  Exposition  of 
1867,  was  denied  him,  he  succumbed  to  the  bitterness  of  his  chagrin.  He  lies  buried 
near  Millet,  in  the  churchyard  of  Chailly. 

43  —  Landscape 


RUSSELL  (John),  r.a. 

Born  at  Guildford,  Surrey,  1744.  He  became  in  time  a  pupil  of  Francis  Cotes 
and  followed  the  manner  of  his  master,  especially  in  the  use  of  crayons.  In  1776  he 
published  a  pamphlet  entitled  “ Elements  of  Painting  with  Crayons He  was 
elected  a  Royal  Academician  in  1803,  and  died  three  years  later. 

24  —  Peg  Woffington 


SEWELL  (Amanda  Brewster) 

Figure  and  portrait  painter ;  wife  of  Robert  V.  V.  Sewell. 

78  —  A  Nymph 


SMITH  (F.  Hopkinson) 

Born  in  Baltimore  in  1838.  He  was  self-taught,  and  has  mainly  confined  himself 
to  water  colors,  in  which  he  displays  an  extraordinary  facility.  Moreover,  as  author, 
lecturer,  and  civil  engineer,  he  has  proved  himself  possessed  of  a  genius  for  versatility. 


10 — Bella  Mar,  Matanzas 


SMYTHE  (Lionel  P.) 

Member  of  the  Royal  Scottish  Water -Color  Society. 

6 — The  Young  Gleaners 

8  —  Children  and  Greyhound 

17  —  In  the  Woods 

TOTTIERE  (E.) 

61  —  Nymphs  Bathing 

TINTORETTO  (Real  name  Jacopo  Robusti). 

Born  in  Venice,  September  29,  1518,  the  son  of  a  silk-dyer,  taking  the  name  IV 
Tintoretto.  He  was  a  pupil  of  Titian,  and  endeavored  to  unite  in  his  own  work  the 
latter's  splendor  of  color  with  Michel  Angelo’s  greatness  of  composition  and  line. 
Ruskin  regards  him  as  the  superior  of  Titian,  and  while  other  critics  disagree  on  this 
point,  they  are  in  accord  in  placing  him  among  the  greatest  masters.  Recognizing  the 
unequal  character  of  his  work,  the  Venetians  said  that  there  were  three  Tintorettos — 
one  of  bronze,  one  of  silver,  and  one  of  gold — while  Annibale  Carracci  affirmed  that, 
if  sometimes  equal  to  Titian,  he  was  often  inferior  to  Tintoretto.  His  life  was  spent  in 
Venice,  where  he  died  May  31,  1594. 

25  —  Portrait  of  Henry  of  V alois 

TROUILLIBERT  (Paul  P.) 

Pupil  of  Vibert  and  Jalahut. 

54 — Landscape 

TROYON  (Constant) 

Born  at  Sevres,  1810.  He  worked  as  a  boy  in  the  porcelain  factory,  where  Rio- 
creus  the  flower  painter  taught  him  to  draw.  Roqueplan,  whom  he  met  on  one  of  his 
sketching  tours,  gave  him  advice  and  encouragement,  but  it  was  Rousseau  and  Dupre 
who  established  firmly  his  own  predilection  for  nature  study.  He  migrated  to  Fontaine¬ 
bleau,  and  from  1836  commenced  the  series  of  his  masterpieces  in  landscape.  To  these 
he  added,  after  a  visit  to  Holland  in  1847,  the  painting  of  cattle,  in  which  he  stands 
unapproached.  He  died  in  1865,  and  a  long  list  of  honors  was  crowned  at  the  Exposi¬ 
tion  of  1878  by  the  Diploma  to  the  Memory  of  Deceased  Artists. 

40  —  Landscape  and  Cattle 

42  —  A  Fisher  Boy 


TRIPP  (George) 

19  —  A  River  Scene 


TURNER  (Joseph  Mallord  William),  r.a. 

Born  in  1775.  He  very  early  displayed  skill  in  drawing ,  and ,  assisted  by  Dr. 
Mnnro,  obtained  employment  in  coloring  prints  and  washing  in  the  backgrounds  of 
architectural  drawings.  At  the  age  of  fourteen  he  became  a  student  at  the  Royal 
Academy ,  and  in  the  following  year  exhibited  his  first  picture,  “  View  of  the  Arch¬ 
bishop's  Palace  at  Lambeth."  He  was  elected  an  Associate  at  twenty-four,  the  youngest 
age  permitted,  but  the  works  which  he  had  already  exhibited  ranged  over  twenty-six 
counties  of  England  and  Wales.  Three  years  later,  in  1802,  he  was  made  a  full 
Academician.  Up  to  this  date  his  powers  had  been  chiefly  displayed  in  water  colors, 
of  which  the  most  celebrated  is  the  collection  of  studies  in  monochrome,  which  he  styled 
“  Liber  Studiorum,”  in  imitation  of  the  “  Liber  Veritatis  ”  of  Claude.  Thenceforth 
oil  painting  mainly  occupied  his  brush,  and,  as  he  had  beaten  all  rivals  in  the  other 
medium,  so  he  set  himself  to  rival  Claude,  whose  preeminence  in  landscape  was  then 
admitted.  In  the  “ Dido  Building  Carthage"  of  1815  he  may  be  said  to  have  accom¬ 
plished  this,  and  for  the  future  devoted  himself  to  eclipsing  the  French  artist — to  being 
Turner.  Then  followed  the  maturest  period  of  his  art,  lasting,  perhaps,  to  his  third 
visit  to  Italy,  in  1840.  He  never  married,  and,  notwithstanding  the  fortune  he  had 
amassed,  lived  shabbily.  In  1851,  during  one  of  his  absences  from  home,  he  died  in 
a  garret  in  Chelsea,  leaving  the  pictures  and  drawings  which  he  had  accumulated  to 
the  nation,  and  his  other  property  for  the  founding  of  an  institute  for  decayed  artists, 
with  the  exception  of  a  thousand  pounds,  which  he  apportioned  for  the  erection  of  a 
tomb  in  St.  Paul's  Cathedral.  There  he  lies  buried,  near  Sir  Joshua  Reynolds,  while 
his  art  remains  “a  phenomenon  without  forerunners  and  without  descendants." 

14 — Katz  Castle  with  Rheinfels 

15  —  Peterhof 

16 — From  Ehrenbreitstein 

VILLEGAS,  JOSE 

Born  in  Seville,  1848.  He  studied  with  Mariano  Fortuny  and  followed  the  latter's 
brilliant  style  of  genre,  coloring  it,  however,  with  a  force  and  character  entirely  his  own. 
By  his  “Death  of  the  Matador,"  and  by  “  The  Christening,"  bought  by  Mr.  William 
H.  Vanderbilt  for  a  hundred  and  fifty  thousand  francs ,  he  acquired  a  European  repu¬ 
tation.  He  has  his  studio  in  Rome. 

5 — A  Spanish  Fencer 
55  —  At  the  Door  of  the  Harem 


89  —  The  Page 


WILLEMS  (Florent) 

Born  at  Liege,  1823.  He  was  a  pupil  of  the  Mechlin  Academy,  and  made  a  study 
of  Dutch  genre  pictures,  attracting  attention  to  his  own  work  as  early  as  1840.  Four 
years  later  he  exhibited  “  Visit  to  Young  Mother”  in  Paris,  and  with  such  success  that 
he  established  himself  there.  His  popularity  was  immense,  the  public  hailing  him  as 
a  modern  T erborg,  and  his  list  of  honors  is  a  long  one. 

70  —  The  Mother’s  Prayer 


WYLLIE  (William  Lionel),  a.r.a. 

Born  in  London,  1851.  He  has  distinguished  himself  particularly  as  a  painter 
of  the  port  of  London. 

4 — River  Stour 
12  —  The  Chapman 


FIRST  EVENING'S  SALE 


Friday,  January  23d,  1903 

AT  MENDELSSOHN  HALL 

BEGINNING  PROMPTLY  AT  8.30  O’CLOCK 

Oil  Paintings  and  Pfdter  Colors 


S' A.  " 

1— 


MORTIMER  L.  MEMPES 

Treasure  Trove 

Water  Color 


Jg)  CL-'i/z^f 


With  charming  naivete  of  feeling  and  purity  of  color  a  little  fair-haired  child  is 
represented  standing  upon  the  sands,  hugging  a  black  bottle.  Her  figure,  clad  only  in  a 
chemise,  is  daintily  set  in  profile  against  the  green  sea. 

Signed  at  the  lower  right,  “  M.  L.  Mempes.” 

Height,  7  inches ;  width,  5  inches. 


FRANK  D.  MILLET,  N.A. 


a' a. 


Roman  Maiden 


Water  Color 


A  lady  of  classic  Rome  is  represented  in  the  act  of  fastening  her  sandal.  She  is 
seated  in  profile  upon  a  couch,  with  her  right  foot  raised,  the  left  resting  on  a  tiger  skin. 
Her  robe  of  creamy  gray  material  blends  in  a  delicate  harmony  of  color  with  the  blue  and 
amber  green  of  the  couch. 

Signed  at  the  lower  left,  “  F.  D.  Millet.” 

Height,  1 1  inches ;  width,  8  inches. 


MORTIMER  L.  MEMPES 

IVaiting  for  the  Boats 

Water  Color 


A  group  of  Brittany  women  is  gathered  by  a  stone  parapet,  gazing  out  to  sea. 
Two  boys  are  seated  on  the  wall. 


Signed  at  the  lower  right,  “  M.  L.  Mempes.” 


Height,  414  Inches ;  length,  7  inches. 


WILLIAM  LIONEL  WYLLIE,  A.R.A. 


4 


River  Stour 

Water  Color 


In  a  channel,  winding  away  from  the  foreground  to  white  cliffs  at  the  back,  the 
tide  is  running  out,  leaving  bare  the  stretches  and  slopes  of  sand.  The  low-water  limits 
are  marked  at  intervals  by  black  posts.  Some  gulls  have  settled,  others  are  flying  over 
the  water.  It  is  a  curiously  interesting  composition  ;  very  refined  in  its  sober  harmony 
of  drab  and  cream,  accented  by  touches  of  black,  gray,  and  white. 

Signed  at  the  lower  right,  “  W.  L.  Wyllie,  River  Stour,” 

Height,  7  inches  ;  length,  io  inches. 


//a.  •• 

5— 


JOSE  VILLEGAS 

A  Spanish  Fencer 

Water  Color 


With  his  back  to  a  wall,  stands  a  man  holding  a  rapier  by  the  handle  and  tip. 
His  right  shoulder  and  arm  are  bare,  while  a  white  cloth  hangs  over  his  left  side.  He 
wears  a  yellow  and  purple  sash  around  the  top  of  heavy  maroon  trunks,  and  white  rags  are 
bound  with  thongs,  upon  his  feet. 

Signed  at  the  lower  right,  “Villegas,  1871.” 

Height,  11  inches;  width,  7j£  inches. 


LIONEL  P.  SMYTH E 


^ ■ ■  LElSL, 


The  Young  Gleaners 


Water  Color 


A  girl  in  blue,  with  a  white  cap,  is  crossing  an  avenue  of  small  trees  that  stretches 
through  a  meadow.  She  carries  a  rake  and  a  basket,  and  is  accompanied  by  a  child  with 
a  sheaf  of  wheat ;  a  second  one,  with  similar  burden,  following.  At  the  end  of  the 
avenue  appears  a  woman. 

Signed  at  the  lower  right,  “  Smythe,  L.  P.,  1883.” 

Height,  7  inches  ;  length,  1  2  inches. 


d  i'O.  " 

7  — 


ALFRED  PARSONS, 

Eton  College 

Water  Color 


A.R.A. 

£. 


On  the  far  side  of  a  level  meadow,  bordered  by  the  Thames,  stretches  a  range  of 
red  buildings  with  gabled  roofs  and  corner  turrets,  pleasantly  embowered  in  foliage. 
Trees  grow  in  the  foreground  on  the  left  of  the  water,  and  the  bank  in  the  middle  distance 
is  sprinkled  with  deer. 

Signed  at  the  lower  right,  “  Alfred  Parsons.” 

Height,  9^4  inches  ;  length,  13^  inches. 


n 

8- 


LIONEL  P.  SMYTHE 


•  9 


Children  and  Greyhound 

Water  Color 


In  the  foreground  a  little  girl  lies  under  a  greyhound,  with  her  arm  on  its  back. 
A  boy  is  approaching  through  the  long  grass,  and  beyond  him  the  road  passes  a  stone 
cottage  in  a  walled  garden,  and  mounts  to  the  village  which  straggles  along  the  top  of 
a  grassy  slope. 

Signed  at  the  lower  right,  “  Smythe,  L.  P.,  1883.” 

Height,  8  inches ;  length,  1  2  inches. 


6  " 
9  — 


ALFRED  PARSONS,  A.R.A. 

Tintern  Abbey 

Water  Color 


A  reach  of  the  River  Wye  stretches  diagonally  across  the  picture,  and  then  makes 
a  sharp  bend  to  the  right  under  a  high  wooded  bank.  On  the  right  margin  of  the  stream 
white  cottages  with  red  roofs  appear  among  the  trees,  beyond  which  are  the  ruins  of  the 
Abbey,  nestling  close  under  a  leafy  hill.  The  beautiful  spot  is  represented  with  the 
tender  charm  of  manner  so  characteristic  of  this  painter’s  rural  landscapes. 

Signed  at  the  lower  left,  **  Alfred  Parsons,  1886.” 

Height,  10  inches  ;  length,  16  inches. 


F.  HOPKINSON  SMITH 


- 

10— 


Bella  Mar,  Matanzas 

Water  Color 


In  the  lower  left  corner  of  the  picture  is  a  triangle  of  pink  sand,  by  the  edge  of 
which  a  skiff  is  moored.  The  coast  is  continued  in  a  horizontal  line  across  the  top  of  the 
composition,  giving  to  the  bay  a  bold  sweep  of  contour.  At  the  apex  of  the  curve  of  pale 
greenish  water  two  laden  donkeys  are  approaching  the  red-roofed  gray  houses  that  straggle 
along  the  shore  beneath  hills.  The  latter  descend  gradually  to  the  right,  with  a  white  wall 
running  beyond  the  village  along  the  length  of  their  base.  It  is  a  spirited  picture  in  pure 
washes  of  color,  rendering  very  truthfully  the  charm  of  warm  and  brilliant  atmosphere. 

Inscribed  at  the  lower  left,  “Bella  Mar,  Matanzas,  Feb.  22,  ’81,  F.  Hopkinson  Smith.” 

Height,  1 1  inches  ;  length,  1 6  inches. 


27E  - 

11  — 


CHARLES  PARSONS,  A.N.A. 

a  T 

An  English  Village 


Water  Color 


One  looks  down  a  short  length  of  village  street,  terminated  by  a  mass  of  elm  trees. 
The  houses  are  red-roofed  and,  on  the  right,  separated  from  the  road  by  gardens,  inclosed 
with  a  low  wall.  In  front  of  a  building  on  the  left  stands  a  post  from  which  swings  the 
sign  of  “  The  Bull  Inn.”  The  scene  is  charmingly  typical  of  a  village  in  the  south  of 
England. 

Signed  at  the  lower  right,  “  C.  Parsons.” 

Height,  834  inches  ;  length,  15/4  inches. 


WILLIAM  LIONEL  WYLLIE,  A.R.A. 

"  *  ' 

12 —  The  Chapman 

Water  Color 


The  conspicuous  feature  of  the  picture  is  a  scarlet  lighthouse  raised  on  a  high 
framework  above  the  blue  water.  The  latter  is  streaked  on  the  right  of  the  structure  with 
a  sinuous  eddy  of  white  shoal  water,  beyond  which  numerous  fishing  boats  are  dotted 
about,  a  steamer  showing  in  the  offing.  Underneath  the  davits  which  hang  from  the  left 
side  of  the  lighthouse  framework  lies  a  rowboat  with  two  figures;  one  of  them 
presumably  “  the  chapman,”  who  has  arrived  to  peddle  his  wares. 

Signed  at  the  tower  left,  “The  Chapman,  W.  L.  Wyllie.” 

Height,  7  inches  ;  length,  17  inches. 


S  V. 


M.  LORING 


13 —  Schooner  at  Low  Tide 

Water  Color 


A  vessel  with  greenish  and  black  hull  is  moored  against  some  piles  on  the  left  of 
the  picture.  Farther  back  on  the  right  projects  a  gray  pier  with  a  building  upon  it 
reflected  in  the  white  water.  Two  boats  appear  in  the  middle  distance,  and  in  the  offing 
a  sailboat,  while  upon  the  horizon  lies  a  gray  line  of  coast.  The  picture  is  full  of  fresh¬ 
ness,  and  has  the  true  water-color  feeling. 

Signed  at  the  lower  left,  “  M.  Loring.” 

Height,  14  inches  ;  width,  gy2  inches. 


/  <1  £i~  ■' 


14 


J.  M.  W.  TURNER,  R.A. 

1775-1851 

Katz  Castle  with 

Water  Color 


Rheinfels 


On  the  left  of  the  picture  is  a  pile  of  gray  rocks  with  trees  on  their  slopes,  and  a 
profile  of  castle  walls  descending  in  steps  until  it  stops  on  the  sheer  edge  of  a  ravine. 
Between  this  and  a  smaller  cliff  to  the  right  the  river  is  seen  lying  far  below,  and  across 
the  water  rises  a  precipitous  rock  crowned  with  the  ruin  of  a  castle.  Beyond  it  appear 
line  after  line  of  ranged  hills,  blue  in  the  distance,  under  a  sky  filled  with  rolling  masses 
of  gray  and  white  cloud.  This  example  and  the  two  following  are  of  the  “  Rhine  Series,” 
of  which  there  were  thirty-five  views,  and  were  made  by  Turner  during  a  tour  up  the 
Rhine  in  1819. 

From  the  collection  of  Ayscough  Fawkes,  Farnley  Hall,  Otley,  Yorkshire,  England,  whose  remarkable 
collection  of  works  by  Turner  was  sold  at  Christie’s,  June  27,  1890.  Mr.  Fawkes  was  one  of  Turner’s  intimate 
friends,  and  a  generous  patron.  Exhibited  at  Burlington  House,  1889. 

Height,  7^4  inches  ;  length,  12  y2  inches. 


//Vd.  •• 

15 


J.  M.  W.  TURNER,  R.A. 

1775-1851 

Peterhof 

Water  Color 


A  rainbow  gleams  coldly  in  the  lurid  sky,  spanning  the  dark,  slaty  water,  on  the 
farther  shore  of  which  a  town  appears  at  the  foot  of  a  sloping  hill.  Along  the  flat  sand 
at  the  left  of  the  picture  a  man  accompanied  by  a  woman  in  a  red  petticoat  is  approach¬ 
ing,  while  farther  back  two  figures  are  walking  in  the  opposite  direction,  and  a  group  of 
figures  appears  in  the  distance.  Off  shore  lies  a  fishing-smack,  with  two  boats  near  it. 

From  the  collection  of  Ayscough  Fawkes,  Farnley  Hall,  Otley,  Yorkshire,  England,  whose  remarkable 
collection  of  works  by  Turner  was  sold  at  Christie’s,  June  27,  1890.  Mr.  Fawkes  was  one  of  Turner’s  intimate 
friends,  and  a  generous  patron.  Exhibited  at  Burlington  House,  1889. 

Height,  8J4  inches  ;  length,  12^  inches. 


SAMUEL  COLMAN,  N.A. 

Cf- 

Grand  Canon  of  the  Colorado 


/ 


Water  Color 


The  minute  precision  with  which  the  character  of  the  rock  formations  has  been 
studied  does  not  detract  from  the  impressive  feeling  of  the  scene  as  a  whole.  Viewed 
through  the  rarified  atmosphere,  the  terraces  of  rock  carve  themselves  clean  against  the 
further  range  and  the  pale  blue  sky.  Those  on  the  left,  according  as  they  fall  in 
shadow  or  catch  the  partial  light,  vary  in  tone  between  slaty  blue,  reddish  slate,  and 
reddish  buff,  while  the  bastions  that  tower  on  the  right  are  a  rosy  yellow.  The  brink 
of  a  deep  fissure  cuts  the  picture  diagonally,  and  in  the  foreground,  where  mist  hovers  over 
the  depth,  two  figures  are  visible ;  one  standing,  the  other  sitting.  The  color  is  charm- 
ingly  pure  and  transparent,  and  the  diffusion  of  warm  light  most  admirably  rendered. 

Signed  at  the  lower  right,  “  Sami  Colman,  1888.” 

Height,  1 7  inches  ;  length,  2 1  inches. 


19  — 

3  c  o.  ■■ 


GEORGE  TRIPP 

A  River  Scene 

Water  Color 


Ducks  are  swimming  in  the  foreground  of  water,  on  the  right  of  which  a  man  is 
stooping  in  a  punt  beneath  some  willow  trees;  two  cows  appearing  on  a  bank  beyond. 
Willows  also  line  the  opposite  margin,  where  a  church  with  white  tower  is  visible.  Near 
to  it  is  a  lock  and  the  commencement  of  a  wooden  bridge,  which  extends  across  the 
narrow  valley  to  the  hills  on  the  other  side.  The  scene  is  such  a  one  as  might  be  found 
in  the  valley  of  the  Thames. 

Signed  at  the  lower  right,  “George  Tripp,  1854.*’ 

Height,  12  inches  ;  length,  25  inches. 


t  it 


ALFRED  PARSONS,  A.R.A. 


An  English  Landscape 

Water  Color 


From  a  grassy  slope  on  the  left,  where  cows  are  feeding,  there  is  a  view  of  a  flat 
valley  dotted  with  trees.  Immediately  below  is  a  small  river,  which  farther  on  makes  a 
bend  where  it  is  crossed  by  a  railroad  bridge.  A  hay  wagon  appears  in  the  middle 
distance.  The  sky  is  a  pure  blue,  with  patches  of  white  and  masses  of  rolling  gray 
clouds.  Juicy  and  transparent  in  color,  the  picture  renders  with  intimate  feeling  the 
pleasant  simplicity  and  wholesomeness  of  the  country. 

Signed  at  the  lower  right,  “  Alfred  Parsons,  1889.” 

Height,  1 7^  inches  ;  length,  23^4  inches. 


MAY  ELEY 


21—  Children  and  Puppy 

Water  Color 


In  front  of  a  drab  wall  a  little  child  in  long  white  dress  stands  sideways,  nursing 
a  bull  puppy.  She  is  being  watched  by  another  fair-haired  child,  who  sits  on  the  floor, 
also  in  profile,  clasping  her  knees  with  her  hands. 

Signed  at  the  left  side,  “  May  Eley.” 

Height,  35  inches;  width,  30^4  inches. 


EDWIN  A.  ABBEY,  N.A.,  R.A. 

%0  "  fC.  0 cA^z^/ 

22 —  Mariana :  Measure  for  Measure 


Water  Color 


The  “  dejected  maid,”  victim  of  Angelo’s  inconstancy,  is  represented  sitting  on  a 
divan,  where  she  has  “  sat  all  day.”  Her  right  arm  lies  extended  upon  the  cushions, 
while  the  left  hand  toys  listlessly  with  her  neck  chain.  Her  white  cap  shows  against 
the  dark  blue  of  the  tapestried  wall,  and  a  white  veil  is  wrapped  around  her  neck,  the 
ends  hanging  down  over  the  shoulders.  The  slate-blue  gown,  with  white  slashed  sleeves, 
and  a  crimson  band  across  the  front  of  the  bodice,  is  worn  over  an  underskirt  of  purple, 
decorated  with  gold  lace.  On  a  table  beside  her  an  hour-glass  marks  the  dull  routine 
of  time;  while  at  the  right  of  the  chamber  stands  her  prie-dieu ,  covered  with  a  linen 
cloth,  and  adorned  with  two  lighted  tapers  and  a  crucifix.  A  picture  hangs  above  it,  under 
a  carved  canopy,  on  the  corner  of  which  is  a  lighted  lantern.  In  the  corridor,  seen 
beyond  some  crimson  hangings,  a  boy  approaches  with  a  lute. 

“  Take,  O,  take  those  lips  away, 

That  so  sweetly  were  forsworn ; 

And  those  eyes,  the  break  of  day, 

Lights  that  do  mislead  the  morn ; 

But  my  kisses  bring  again,  bring  again ; 

Seals  of  love,  but  seal’d  in  vain,  seal’d  in  vain.” 

The  picture  elaborately  illustrates  the  artist’s  ability  to  re-create  the  feeling  and 
environment  of  bygone  days,  and  in  the  richness  of  its  color,  tonal  quality,  and  exquisite 
handling  reveals  his  mastery  of  the  water-color  medium. 

Signed  at  the  lower  right,  “  E.  A.  Abbey.” 

Height,  18^4  inches  ;  length,  23^4  inches. 


A  WElson  &  Co. Boston 


THOMAS  GAINSBOROUGH,  R.A. 

1727-1788 

oZ  f  6"7)-  " 

23—  Shepherd  Boys 


The  two  lads  in  this  little  picture  are  eminently  characteristic  of  Gainsborough. 
They  have  an  unaffected  rusticity,  a  natural  wholesomeness,  the  freedom  of  gesture  of 
young  untamed  creatures,  and  added  thereto  a  slight  gravity  of  demeanor,  a  reflex  of 
the  painter’s  own  gentle,  dreamy  nature.  They  are  seated  on  a  rocky  eminence  which 
overlooks  a  plain,  showing  blue  in  the  distant  atmosphere.  Behind  them  stands  an  old 
oak  trunk,  between  the  branches  of  which  appears  a  patch  of  blue  sky.  One  of  the  boys 
leans,  nearly  facing  us,  with  one  hand  extended  along  the  rock,  the  other  holding  a  crook. 
His  companion  sits  sideways  at  his  feet,  with  his  hands  laid  upon  his  knees,  and  in  front  of 
him  lies  a  dog.  The  glow  of  the  setting  sun  is  concentrated  on  the  back  and  shoulders 
of  the  latter  boy,  and  spreads  a  pattern  of  lesser  light  over  the  browns  and  russet  tones  of 
the  foreground,  paling  into  greenish  cream  in  the  distant  sky.  The  mingled  breadth  and 
subtlety  of  the  color  scheme  and  chiaroscuro  produce  a  combined  impression  of  genial 
bonhomie  and  tender  reverie. 


Height,  1  3  inches  ;  width,  9 inches. 


JOHN  RUSSELL,  R.A. 

1744-1806 


24- 


/ 


Peg  IV offington 

Pastel 


•  • 


A  pupil  of  Francis  Cotes,  Russell  practised  in  oils  and  crayons,  making  his  mark 
particularly  in  the  latter  medium,  and  enjoying  the  appointment  of  Painter  in  Crayons  to 
George  III.  and  the  Prince  of  Wales. 

In  this  bust  portrait  of  Peg  Woffington,  he  has  represented  the  famous  actress  in 
a  position  three  quarters  to  the  front,  facing  right,  with  the  eyes  glancing  to  the  left.  The 
brown  wavy  hair  is  drawn  off  the  forehead  and  arranged  at  the  back  in  curls,  threaded 
with  strings  of  pearls.  The  features  are  rendered  with  the  precise  finish  of  a  miniature, 
the  flesh  tones  being  clear  and  white,  delicately  suffused  with  pink.  A  lace  fichu  borders 
the  neck  of  the  blue  silk  Watteau  robe,  which  is  damasked  with  pink  and  white  flowers, 
while  the  short  sleeves  are  caught  up  with  a  brooch  of  pearls.  Worn  in  the  centre  of  the 
bodice  of  pearly  satin  is  a  red  jewel  set  with  pearls,  three  of  which  are  pear-shaped ;  and  a 
pearl  also  nestles  in  the  ear. 

The  vivacious  audacity  of  the  actress,  whose  sayings  and  doings  even  outside  the 
theatre  were  the  delight  of  the  town,  is  here  toned  down  to  the  demure  discreetness  of  the 
grande  dame  of  the  period ;  an  accomplishment  upon  which  the  fair  Peg  prided  herself 


Height,  23  inches;  width,  17^  inches. 


TINTORETTO 

Real  name  Jacopo  Robusti) 
1518-1594 


/V  0-  " 
/ 


25—  Portrait  of  Henry  of  Patois 


The  portrait  represents  the  half-length  figure  of  a  man  of  about  thirty-five  years, 
facing  three-quarters  to  the  left,  resting  one  hand  on  the  hilt  of  his  sword,  and  in  the  right  hand 
holding  an  inscribed  parchment.  He  has  closely  cropped  black  hair ;  dark,  arching  eye¬ 
brows;  and  a  downy  moustache.  A  lace-edged  ruff  is  worn  above  a  black  velvet  robe, 
below  the  cape  of  which  appears  a  doublet  with  white  satin  sleeves  barred  with  gold 
thread.  His  sword  is  enclosed  in  a  black  scabbard  decorated  with  gold  lace  in  diag¬ 
onal  bands;  and  from  the  wide  hilt  droops  his  left  hand,  which  has  a  small  ring  on 
the  little  finger.  A  flat  broad  chain,  formed  of  gold  links,  hangs  from  his  neck. 
The  Latin  inscription  on  the  parchment  commences  with  the  words,  “Serenissimo  et 
Exmo.  Domino,  Henrico  Vaksio,  Andaganiensium  Duci,  et  Dei  gra.  electo  Regi 
Poloniae.”  The  subject  of  the  portrait  is  Henry  of  Valois,  son  of  Catharine  de’  Medici, 
who  was  elected  King  of  Poland  in  1573,  but  resigned  the  position  in  the  following 
year  upon  his  succession  to  the  throne  of  France  as  Henry  III.  This  seems  to  fix 
the  date  of  the  picture,  as  it  was  probably  painted  during  Henry’s  progress  to  France, 
while  he  was  visiting  Venice  as  the  guest  of  the  Doge. 


Height,  40  inches  ;  width,  30  inches. 


/ 


rno- 


26 


GEORGE  ROMNEY 

1734-1802 


The  Shy  Child 


Z 


etui  du- 


Unfinished,  like  many  of  Romney’s  canvases,  this  picture  has  yet  been  carried  far 
enough  to  represent  with  delicious  freshness  of  fancy  the  simple  coyness  of  a  country 
maiden.  Her  head  inclines  to  one  side,  the  cheek  resting  against  the  back  of  her  right 
hand,  while  her  left  hand  is  held  up  to  her  bosom.  The  eyes  peer  up  through  the  transparent 
shadow  that  softly  veils  her  forehead;  the  full  cheeks  are  ripe  in  color,  and  the  mouth  is 
drawn  forward  with  a  demure  purse  of  the  lips,  above  a  little  pointed  chin.  The  white 
dress  over  the  bust  has  been  indicated  with  vivacity  and  freedom,  and  left  unfinished. 

It  is  in  a  bust  portrait  such  as  this  that  Romney  often  appears  most  happy ;  for  as 
a  rule  he  eschewed  elaborate  compositions,  painting  under  a  strong  impulse,  without  the 
science  and  deliberation  of  manner  that  distinguish  Sir  Joshua.  Yet  he  was  frequently  the 
equal  of  that  master  by  the  very  insouciance  of  his  style.  An  excellent  draughtsman,  with 
instinctive  aptitude  for  grace  of  line,  and  a  charming  colorist,  he  was  particularly  skilful 
in  giving  life  to  his  faces,  rendering  with  an  individuality  of  charm  the  winsomeness  of 
women  and  children. 

From  the  collection  of  Walter  J.  Long,  Preshaw,  Hant’s,  England,  in  whose  family  the  painting  had  been  since 
it  was  painted.  Sold  at  Christie’s,  London,  1890. 


Height,  23  inches  ;  width,  zi  inches. 


OLD  CROME  (JOHN  CROME) 


/ 


C  6 


1769-1821 


^  C  ^  c 


-A-  -  ( 


27— 


Landscape  with  Cottage 


The  right  of  the  composition  is  filled  with  the  side  and  gabled  end  of  a  cottage, 
on  the  left  of  which  are  a  lean-to  shed  and  a  paling,  with  a  pollard  willow  showing  above 
it.  The  immediate  foreground  is  of  buff  and  olive  tones,  with  a  mass  of  dark  foliage  on 
the  right,  out  of  which  rises  a  trunk  with  bare  branches.  Beyond  the  cottage  a  meadow 
extends  to  a  pond  and  to  elm  trees  which  stand  against  a  creamy  sky,  mellow  with  light. 
A  square  chimney  surmounts  the  pitch  of  the  roof,  and  a  dormer  window  projects  from 
the  slope,  while  the  front  of  the  cottage,  where  brick  shows  through  the  broken  plaster,  is 
occupied  by  a  door  and  window. 

Height,  44  inches  ;  width,  36  inches. 


//  " 


SIR  HENRY  RAEBURN,  R.A. 

I7S6-823  1  ^ 


28 


Portrait  of  Charles  Lamb 


At  the  age  of  30 


This  bust  portrait  has  a  graciousness  of  mien  and  quiet  force  of  character  in 
Raeburn’s  happiest  vein.  The  figure  appears  in  profile,  facing  to  the  left,  against  a  dark 
olive  background,  the  corners  of  which  are  traversed  by  curved  bands  of  drab.  The 
double-breasted  black  coat  is  buttoned  up  to  the  chin,  where  its  small  collar  falls  neatly 
over  a  soft  white  stock.  The  head,  turned  three-quarters  full,  has  brown  curly  hair,  falling 
in  waves  over  the  forehead;  strong  black  brows  surmount  the  gray  eyes;  the  nose  is 
straight,  and  the  large  lips  are  slightly  parted ;  the  flesh  tints  being  generously  suffused 
with  carmine.  In  its  simple  directness  of  expression  and  honest  workmanship  this  portrait 
offers  a  fine  example  of  Lawrence’s  chief  rival,  whose  vogue,  even  in  his  own  day,  would 
have  been  wider  had  not  the  home-loving  instinct  of  the  Scot  induced  him  to  settle  in 
Edinburgh  rather  than  in  London.  But  with  the  slow  dispersal  of  his  work  his  reputation 
is  still  growing. 


Height,  28  inches  ;  width,  24  inches. 


o2  3oO- 


SIR  JOSHUA  REYNOLDS,  P.R.A. 

I723~I792 


(7. 


30 —  Portrait  of  the  Countess  of  Nottingham 


Something  of  Van  Dyck’s  influence  is,  perhaps,  recognizable  in  the  suave  dignity 
of  this  portrait.  The  figure  is  shown  as  far  as  the  waist,  seated,  facing  to  the  left;  one  arm 
resting  upon  some  object  in  front,  with  a  gesture  of  superb  elegance.  The  delicately  tap¬ 
ering  hand  droops  beneath  a  loose  cuff,  over  which  are  massed  the  voluminous  folds  of 
a  claret-colored  drapery.  The  bodice  is  worn  low  enough  to  reveal  the  cushion  of  the 
shoulder,  from  which  the  slender  neck  slopes  up  with  a  curve  of  remarkable  grace.  In 
the  small  upper  lip  and  finely  arched  brows  there  is  a  trace  of  hauteur ,  which  yields  to 
graciousness  in  the  expression  of  the  eyes  and  in  the  ample  modelling  of  the  contours. 
Over  the  brownish-amber  hair,  which  is  massed  in  braided  coils,  sets  a  headdress  of  gauze, 
edged  and  sprigged  with  gold.  It  is  fastened  like  a  kerchief  on  the  crown,  and  falls 
behind  in  folds.  A  pearl  pendant  hangs  from  the  ear.  There  is  a  moderation  of  sumptuous¬ 
ness  in  the  costume  which  is  alluringly  impressive.  The  gown  is  of  dull  blue  velvet,  with 
a  very  full  sleeve,  and  a  border  of  ermine  on  the  edges,  which  fold  over  the  breast, 
where  a  glimpse  of  the  lace  chemise  appears.  The  composition  has  an  ampleness  of 
decorative  arrangement  which  charmingly  accords  with  the  mingling  of  high-bred  ease  and 
stateliness  in  the  subject. 

Height,  29^  inches;  width,  2 5  inches. 

O-O.  O- .  AuayZ-w  /9  / g  JC/3Z 


3 


AW  Elgon  &Co,Boston 


AW  Elaond  Co. Boston 


*  / 


p 

\J>  ■ 


S’  J2.  a  <7. 


JOHN  HOPPNER,  R.A. 

I759~i8io 


31 — Portrait  of  Lady  Almeria  Carpenter 


Hoppner  excelled  in  his  portraits  of  ladies,  and  the  present  subject,  a  ripe  and 
wholesome  type  of  English  beauty,  whose  natural  charms  are  enhanced  by  the  coy  sim¬ 
plicity  ot  her  costume,  affords  a  very  admirable  example.  His  fine  sense  of  tone  reveals 
itself  here  in  a  color  scheme  of  grave  refinement — soft  white  and  gray  against  a  dark  drab 
background,  with  a  note  of  piquancy  in  the  fresh  tints  of  the  healthy  face.  The  lady’s 
head  is  turned  a  little  towards  the  left,  while  the  bust  fronts  us,  the  full  bosom  being  partly 
visible  beneath  the  crossed  draperies  of  the  bodice.  Her  powdered  hair,  disposed  low 
down  over  the  forehead,  is  dressed  upon  the  crown  in  a  loose  volume,  terminating  at  the 
back  of  the  neck  in  curls,  which  are  entwined  with  a  dainty  fall  of  gray  veiling.  The 
eyes  are  a  bluish  gray,  with  full  orbs  and  a  tender  earnestness  of  glance  ;  the  nose  softly 
rounded;  and  the  lips  gently  compressed,  with  the  trace  of  a  smile  in  their  corners.  The 
portrait  involves  a  most  agreeable  mingling  of  artifice  and  artlessness,  rendered  with  frank 
and  easy  brushwork. 


Height,  20  inches  ;  width,  17  inches. 


SIR  JOSHUA  REYNOLDS,  P.R.A. 

f #  0  0-  " 

32 —  Portrait  of  Hon.  Mrs.  Stanhope 

Nee  Eliza  Falconer 


Very  characteristic  is  the  quality  of  mellowness  and  vaporous  atmosphere  in  the 
chiaroscuro  of  this  picture.  The  lady  is  seated  under  a  tree,  which  casts  a  delicate 
shadow  over  the  skirt  of  her  gown  and  over  the  hand  that  lies  upon  it ;  while  her  face 
and  bosom  are  warmed  by  the  evening  glow,  which  settles  also  on  a  pool  in  the  land¬ 
scape.  The  flesh  tones  are  luminous  with  creamy  gold  that  responds  to  the  rosy  cream 
of  the  horizon,  and  to  the  golden  brown  flecked  with  orange  in  the  foliage  of  the  tree. 
The  richness  of  the  landscape  setting  adds  the  charm  of  contrast  to  the  simple  grace  of 
the  gown,  which  is  of  soft  creamy  material,  crossing  low  upon  the  bosom.  The  lady 
faces  the  left,  her  right  elbow  supported  upon  her  knee,  and  her  hand  resting  against  her 
cheek.  The  face  is  oval,  with  a  sensitively  arched  nose,  delicately  pencilled  brows,  and 
brown  eyes  half  veiled  with  drooping  lids.  Brown  also,  of  a  warm  tone,  is  her  hair, 
which  is  drawn  up  on  the  top  of  her  head  in  rolls,  with  loops  depending  behind.  The 
pose  of  the  figure  is  at  once  graceful  and  artless,  while  the  entire  composition  has  a 
handsomeness  of  treatment  that  makes  the  portrait  truly  pictorial. 

Mrs.  Stanhope,  nee  Eliza  Falconer,  one  of  the  beauties  of  the  day,  was  married  to  the  Honorable  Fitzroy 
Stanhope,  younger  son  of  the  second  Earl  of  Harrington,  who  died  August  20,  1828. 


Height,  48  inches  ;  width,  35  inches. 


A  V7.E1bojhS.  Co.,  Boston 


OLD  CROME  (JOHN  CROME) 

1769-1821 

rr<r<?-  •• 

33 —  Old  Mill  on  the  Yare 


/%. 


Crome’s  intimate  knowledge  of  nature,  and  feeling  for  its  large  characteristics,  and 
his  indebtedness  to  the  art  of  Holland  are  well  illustrated  in  this  choice  example.  There 
is  even  some  aspect  of  a  Dutch  scene  in  the  subject,  which  is  apparently  a  view  upon 
the  Yare,  seen  under  the  fading  light  of  a  rather  threatening  sky.  Starting  in  a 
clump  of  dark  trees  on  the  left,  a  low  stretch  of  land  divides  the  water  and  sky.  The 
latter  overhead  is  ragged  with  diagonal  shreds  of  dusky  cloud,  while  the  horizon  is  full 
of  white  light,  against  which  are  softly  silhouetted  two  dark  brown  roofs,  and,  farther  to 
the  right,  a  reddish  windmill  and  a  white  house.  A  wooden  jetty  projects  into  the  water, 
upon  the  gray  surface  of  which  drowse  the  reflections  of  the  various  objects  on  the  land. 
The  whole  scene,  frankly  realistic,  as  was  Crome’s  wont,  is  toned  to  a  delicate  adjustment 
of  dark  russet  colors  and  whitish  grays,  which  gives  a  beautiful  pictorial  quality,  very 
discreet  and  refined.  Rendered  with  much  tenderness,  also,  is  the  feeling  of  the  scene — the 
gentle  rusticity  of  the  spot  and  the  tranquil  hush  of  evening — made  even  more  impressive 
by  the  threat  of  stir  in  the  sky.  In  the  technique  there  is,  more  than  usual,  a  breadth  of 
treatment,  since  the  uncertainty  of  light  permits  no  pettiness  of  detail,  and,  therefore, 
nothing  interferes  with  the  largeness  of  conception.  It  is  a  picture  that  admirably  sustains 
Old  Crome’s  individual  worth  and  his  position  in  English  art. 

From  the  Dawson  Turner  Collection,  London,  1852. 


Height,  25  inches ;  length,  29^4  inches. 


/^;  j-oo- 


0  * 


34 


GEORGE  ROMNEY 

1734-1802  £7. 


S  d 

Portrait  of  Mrs.  IVells 


» 


A  striking  handsomeness  of  composition  distinguishes  this  portrait  of  the  popular 
actress.  Her  figure,  almost  full  face,  is  shown  seated  under  a  tree,  leaning  forward,  with 
the  hands  in  a  large  muff.  The  pose  is  as  easy  as  it  is  graceful,  mingling  a  suggestion  of 
the  woman  of  the  world  with  a  charming  intimacy  of  personal  expression ;  for  there  is  an 
ampleness  in  the  parts  of  the  composition — the  large  hat  and  muff  and  the  widely  spread¬ 
ing  mass  of  silk  gown — which  gives  a  stateliness  to  the  picture,  while  the  figure  itself 
preserves  a  winsome  simplicity.  The  trunk  of  the  tree,  mellowed  with  rich  browns  and 
greens,  and  the  pale  amber  foliage  offer  a  bold  foil  to  the  tender  coloring  of  the  costume. 
The  gown  is  of  ivory  and  wine-colored  stripes,  cut  low  to  a  point  at  the  bosom ;  a  tippet 
of  soft  creamy  material  overlaps  the  neck;  the  tight  sleeves  are  finished  at  the  elbows 
with  a  broad  ruche  of  quilled  lawn  gathered  with  a  central  band  of  creamy  ribbon,  and 
a  white  muslin  apron  covers  her  lap.  The  muff  is  of  gray-black  fur.  The  blonde  hair, 
daintily  powdered,  peeps  in  loose  masses  from  below  the  flounce  of  a  lace  cap  that  is  worn 
under  the  hat.  The  latter,  wide-brimmed,  and  covered  with  dove-gray  silk,  is  edged  with 
pale  blue  and  white  ribbon,  and  decorated  with  a  pompon  of  gray  bows  and  a  lawn 
rosette  of  the  same  color.  There  is  a  suggestion  of  happy  improvisation  in  the  manner 
of  the  painting,  of  facile  and  spontaneous  brushwork,  and  a  more  than  ordinary  charm  of 
perfected  effort. 

Deliciously  captivating  is  the  expression  of  the  face — a  little  serious,  it  has  yet  a 
lurking  smile  that  responds  to  the  very  personal  glance  of  the  blue  eyes,  while  the  deli¬ 
cate  play  of  atmosphere  invests  the  features  with  a  slightly  idealized  charm ;  not  enough, 
however,  to  interfere  with  the  lifelike  feeling  that  animates  the  whole  picture. 

From  the  collection  of  Right  Hon.  E.  P.  Bouverie,  44  Wilton  Crescent,  London. 

Height,  50  inches ;  width,  40  inches. 


ilson  &  Co.Boston 


JOHN  CONSTABLE,  R.A. 

i776"i837 

/■*/«-*  '• 


V"  . 


Dedham  Vale 


This  celebrated  picture,  belonging  to  the  period  of  Constable’s  most  perfect  art,  was 
painted  in  1811.  The  scene  is  in  the  neighborhood  of  East  Bergholt,  Suffolk,  the 
artist’s  birthplace,  and  in  the  little  town  of  Dedham,  at  the  head  of  the  vale,  he  spent  some 
of  his  school  years.  Here,  too,  lived  Sir  George  Beaumont,  a  patron  of  the  arts,  who 
used  to  assert  that  “a  good  picture  should  be  in  the  color  of  a  good  fiddle,  brown,” 
and  unwittingly  contributed  to  the  refutation  of  his  theory  by  encouraging  a  young  man 
whose  art  was  to  restore  the  greens  to  nature. 

The  church  and  some  houses  of  Dedham  appear  nestling  beneath  the  distant  hills, 
from  which  the  vale  stretches  towards  us  embroidered  with  hedgerows,  sprinkled  with 
trees,  and  embossed  with  farmsteads  and  clumps  of  foliage  basking  in  the  amber  haze  of 
a  misty  horizon,  rosy  white  beneath  a  pale  blue  sky.  The  foreground  consists  of  two 
slight  eminences  that  descend  towards  the  centre  of  the  picture,  where  four  cows  have 
just  entered  the  field;  a  man  in  a  red  coat,  leading  a  black  horse,  being  in  the  act  of  closing 
the  gate  behind  them.  Crowning  the  left  bank  is  an  ash  tree,  painted  with  extraordinary 
delicacy;  a  donkey  feeds  on  the  slope,  and  at  the  foot  is  a  milestone  with  the  inscription 
“Dedham  Vale.”  The  grassy  incline  upon  the  right  is  bordered  with  a  row  of  trees  that 
extends  to  a  house  at  the  top,  from  which  a  man  approaches,  while  nearer  to  us  a  woman, 
carrying  a  basket  and  shawl,  is  descending  the  slope. 

Mingled  with  the  perfection  of  delicacy  that  distinguishes  certain  parts  of  the 
picture  is  the  largeness  of  conception  which  has  embraced  the  whole.  It  is  the  product 
of  consummate  craftsmanship  and  of  fullest  intimacy  with  nature;  with  the  pastoral 
phase  of  it,  opulent  and  ample,  sweetly  simple. 

Signed  at  the  lower  left,  “  John  Constable,  Pinxit,  1811.”  Height,  30  inches;  length,  49  inches. 

Note. — “  In  this  year,  1811,  he  sent  to  the  Academy  two  pictures,  'Twilight’  and  'Dedham  Vale.’ 
In  ‘  Dedham  Vale  ’  an  extensive  country  is  seen  through  a  sunny  haze  which  equalizes  the  light  without  injur¬ 
ing  the  beauty  of  the  tints.  There  is  a  tree  of  a  slight  form  in  the  foreground,  touched  with  a  taste  to  which 
I  know  of  nothing  equal  in  any  landscape  I  ever  saw.”  Vide  "  Life  of  John  Constable,  R.A.,”  by  C.  R. 
Leslie,  R.A. 


JOHN  HOPPNER,  R.A. 

i759-i8io 


/  (yo^r- 


Portrait  of  Mrs.  Gwyn 

Nee  Mary  Horneck.  Born  1754,  died  1840 


The  beautiful  original  of  this  portrait  was  a  lady  of  the  bedchamber  to  Oueen 
Charlotte  and  wife  of  General  Gwyn,  an  equerry  to  George  III.  The  charming  spontaneity 
of  the  pose,  as,  seated  back  to  us,  she  turns  her  shapely  head  to  glance  over  her  left 
shoulder,  is  in  Hoppner’s  happiest  manner.  So,  too,  is  the  rendering  of  the  face,  rosy  with 
youthful  charm,  mingling  nobility  and  sweetness,  yet  for  all  its  pretty  artifice  very  spirited 
and  lifelike.  The  corsage,  edged  with  a  ruffle,  is  cut  low  enough  to  reveal  completely 
the  graceful  sweep  of  the  neck,  which  is  encircled  with  a  narrow  black  ribbon.  The 
gown  is  of  white  material,  and  a  black  lace  scar!  surrounds  the  waist  and  lies  over  the 
arms.  The  fair  hair,  powdered  a  la  mode ,  is  surmounted  by  a  mob  cap,  to  the  simple  folds 
of  which  a  touch  of  piquancy  is  added  by  a  bow  of  peacock  blue.  The  portrait  is  a 
choice  example  of  the  artist,  representing  the  facile  elegance  of  his  best  works,  the  viva¬ 
cious  tenderness  of  style,  and  his  skill  in  imparting  a  quality  of  picturesqueness  to  the  canvas. 

Purchased  at  Christie’s,  London,  June  29,  1889,  where  it  was  sold  by  order  of  Miss  Gwyn. 


Height,  29J4  inches  ;  width,  24 inches. 


JEAN  BAPTISTE  CAMILLE  COROT 


/  * 


no?. 


1796-1875 


Classic  Landscape 


The  fragment  of  a  temple,  seen  in  profile  on  the  left  of  the  picture,  with  a  statue 
surmounting  a  projection  of  masonry,  lends  a  tone  of  classic  suggestion  to  a  landscape 
that  without  it  would  still  be  classic  in  feeling.  The  temple  stands  behind  a  bare  willow 
stump,  growing  by  a  dark  pool,  near  which  is  a  spot  of  crimson.  On  the  right  is  an 
eminence  of  yellow-brown  rocks  topped  with  russet  undergrowth,  out  of  which  rise  a  few 
slender  stems  crowned  with  pompons  of  drowsy  olive  green.  Over  the  gray,  dreamy 
distance  spreads  a  horizon  of  warm  cream,  mounting  to  faint  blue,  with  a  hovering  of 
soft,  rosy-gray  clouds. 


Signed  at  the  lower  left,  “  Corot.” 


Height,  15J4  inches ;  width,  14  inches. 


3U0-  •' 


OLD  CROME  (JOHN  CROME) 

1769-1821 


38 


The  Porlington  Oak 


In  this  fine  example  of  the  Norwich  master,  a  giant  oak,  the  favorite  subject  of  his 
study,  occupies  the  centre  of  the  composition.  At  the  foot  of  its  huge  bole  a  shepherd 
boy  in  red  breeches  lies  beside  his  dog,  and  in  front  is  a  pool  of  water  with  lilies  floating 
on  the  surface.  The  spot  is  enclosed  by  a  thick  growth  of  trees,  on  the  left  of  which  is  a 
grassy  bridle  path  leading  down  to  a  bank  beside  the  water  upon  which  three  cows  are 
grouped.  Overhead  is  a  greeny-blue  sky  with  masses  of  white,  lighted  cloud.  It  is  deli¬ 
cately  luminous,  while  a  golden  atmosphere  envelopes  the  rich  browns  and  olive-greens  of 
the  foliage.  A  grand  feeling  of  immensity  and  vast  quiet  pervades  the  scene. 


Height,  36  inches  ;  length,  43  inches. 


AWElson&  Co.Boston 


AUGUST  VON  PETTENKOFEN 


39- 


1821-1889 


f  r- 


La  Charrette  des  Blesses 


Pettenkofen’s  early  experience  as  an  officer  in  the  Austrian  army,  his  subsequent 
fondness  for  the  lonely  plains  of  Pusta  and  study  of  the  peasants,  soldiers,  and  animals, 
and  the  particular  view  point  of  his  art  are  all  represented  in  this  picture.  It  is  a  strain 
of  delicate  harmony,  a  concord  of  drab,  gray,  and  cream,  which,  with  the  realization  of 
atmosphere  and  movement,  has  supplied  him  with  motive  enough.  The  subject  which 
serves  as  fabric  is  the  bringing  home  of  a  party  of  wounded  soldiers;  the  scene  being  a 
sandy  plain  overhung  by  a  dark  sky,  with  a  glare  on  the  left  of  the  horizon.  A  long 
wagon,  in  which  men  are  seated  or  lying  propped  up,  is  being  drawn  by  cream-colored 
oxen,  and  soldiers  are  pushing  it  from  behind.  Towards  the  right  of  the  foreground  a 
woman,  followed  by  a  tired  dog,  is  walking  with  heavy  steps,  carrying  a  pitcher  and 
water  bottle. 

In  the  sensitive  monotony  of  the  color  scheme,  and  in  the  sobriety  of  the  sustained 
movement  there  is  a  lyrical  impulse,  tender  and  contemplative.  It  is  a  charming  example 
of  the  painter,  who  in  his  technique  was  influenced  by  Alfred  Stevens,  and  in  his  feeling 
for  nature  and  life  by  Troyon  and  Millet. 

Signed  at  lower  left,  “  A.  Pettenkofen,”  and  dated  1853. 

Height,  1  o  inches ;  length,  1 3  inches. 


CONSTANT  TROYON 


'JL  {  d~d-  •' 

40  — 


1810-1865 


Landscape  and  Cattle 


How  large  a  feeling  amplifies  this  picture,  lifting  to  noble  poetry  the  relation 
between  the  beasts  and  nature  ! 

The  day  is  one  of  fresh  breeze,  in  early  summer,  when  the  sky  clears  and  thickens 
by  turns,  and  all  the  picture  betokens  the  bracing  conflict  of  pleasant  sunshine  and  gath¬ 
ering  cloud.  In  the  middle  distance  a  dun  cow  and  a  white  one  are  feeding  side  by 
side,  and  the  distant  stretch  of  meadows  basks  in  the  clear  light  of  a  faint  blue  sky,  which 
is  creamy  towards  the  horizon,  and  spread  above  with  warm  gray  buoyant  clouds. 
Farther  towards  the  front,  however,  on  the  right,  looms  up  a  lowering  mass  of  drabbish 
hue,  restless  and  threatening,  and  beneath  the  shadow  of  it  stands  across  the  foreground 
a  red  ox  with  white  upon  his  head,  which  is  turned  towards  us.  To  his  left  is  a  little 
pool  bordered  with  reeds,  and  behind  him  moves  away  a  black  cow. 

With  what  grandeur  the  red  and  black  of  these  bulky  beasts  accord  with  the 
strong,  broad  treatment  of  the  foreground  and  the  sternness  in  the  sky,  contrasting  also  so 
effectively  with  the  growth  of  tenderness  in  the  receding  planes  of  the  picture. 

Height,  23  inches  ;  length,  33/4  inches. 


3<?CrcJ.  ' 

41  — 


ALEXANDRE  DECAMPS 

1803-1860 


Landscape 


The  pictorial  caprice  of  which  Decamps  was  so  fascinating  a  master  is  charmingly 
illustrated  in  this  little  landscape.  Near  the  centre  of  the  foreground  is  a  brook,  with  a 
bank  on  the  right  of  warm  yellow  and  brown  rocks,  thatched  with  mossy  turf.  Seen 
above  a  hollow  is  the  figure  of  a  man  firing  at  a  duck  which  is  flying  over  the 
water.  Behind  him  the  ground  descends  into  a  little  gully  lined  with  bushes,  beyond 
which  it  undulates  to  distant  hills  lying  blue  beneath  a  horizon  of  rosy  cream  and  gray  in 
layers,  the  sky  above  being  greenish-blue  under  a  canopy  of  dark  gray  clouds.  The  pic¬ 
ture  has  a  lovely  mellowness  of  color  and  warmth  of  atmosphere,  and  is  full  of  piquant 
surprises  of  light. 

Signed  at  lower  left. 

Height,  12^4  inches;  length,  17  inches. 


CONSTANT  TROYON 

1810-1865 

y-2  6~  "  Jf-  vtemcs 

42—  A  Fisher  Boy 

In  this  unusual  example  of  Troyon’s  art  a  fisher  boy  is  represented  approaching 
over  the  sand  with  a  basket  across  his  back.  His  slaty-green  trousers  are  rolled  up  to 
the  knees,  and  the  red  blouse  shows  the  sleeve  of  a  white  undershirt.  In  the  middle  dis¬ 
tance,  to  the  left,  two  figures  are  busied  round  a  boat  on  the  sand,  and  still  farther  back 
another  figure  appears,  near  the  water’s  edge.  The  retreating  sea,  which  has  left  the  sand 
still  dripping,  lies  a  sheet  of  cool  blue  under  a  gray  sky,  stirred  with  breeze.  The  picture 
is  delicious  in  tone  and  saturated  with  atmosphere. 


Signed  at  the  lower  left,  “  C.  Troyon.” 


Height,  9  inches  ;  width,  7  inches. 


I 


THEODORE  ROUSSEAU 


0  0-  - 


43  — 


1812-1867 


Landscape 


In  the  foreground  of  rich  olive  tones  lies  a  low  building  with  a  thatched  roof,  to 
the  left  of  which  are  a  high  tree  and  two  shorter  ones.  Behind  them  appear  the  white 
end  of  a  church,  pierced  with  a  window,  an  apsed  chancel,  and  the  white  gable  end  of  a 
house,  peeping  from  the  foliage.  Beyond  them  a  tree-sprinkled  hill  descends  towards  the 
centre,  while  another  hill  runs  to  meet  it  from  the  right.  These  two  form  a  narrow 
entrance  to  the  plain,  which  broadens  beyond  and  stretches  to  a  distant  horizon.  This 
vista  of  exquisite  gradations  is  illumined  with  warm  light,  beneath  a  spacious  sky,  sin¬ 
gularly  beautiful  in  its  delicate  creamy  atmosphere,  across  which  float  lace-like  strips  of 
cloud.  The  tones  of  the  picture  progress  from  opulent  depth  of  hue  to  the  extreme  of 
tender  evanescence,  embodying  a  sentiment  of  absolute  tranquillity. 

Signed  at  the  lower  left,  “  Th.  Rousseau.” 

Height,  9 y2  inches;  length,  13^  inches. 


S'd  <?.  •• 
44 — 


ALEXANDRE  DECAMPS 

1803-1860 


The  Beggar 


No  subject  came  amiss  to  Decamps,  whose  eye  discerned  everywhere  the  elements 
ot  picturesqueness.  Here  it  is  a  beggar,  with  his  back  to  us,  holding  out  his  hat  and  looking 
up,  as  if  to  a  window.  The  freedom  of  the  gesture  is  charming,  and  the  whole  conception 
eminently  a  painter’s  view.  The  man  wears  a  jacket  of  olive-drab  hue greenish-blue 
breeches,  leaving  the  legs  bare ;  and  a  pouch  slung  under  his  right  arm.  The  coloring  is 
mellow  and  subtle,  brushed  in  with  delightful  spontaneity. 

Signed  at  the  lower  right,  “AD.” 

Height,  9^  inches ;  width,  6  inches. 


SIR  LAURENCE  ALMA-TADEMA,  R.A. 

/xt-  A" 

45—  “Amo  te , 


It  has  been  well  said  that  “  in  their  still  life  Alma-Tadema’s  pictures  are  the  fruit 
of  enormous  archaeological  learning  which  has  become  intuitive  vision,  but  his  figures  are 
the  result  of  a  healthy  rendering  of  life.”  And  in  the  present  one  a  little  episode  of  the 
classical  period  is  reinvested  with  all  the  charm  of  naturalness.  A  young  Roman  lady  is 
receiving  a  gift  of  roses  from  a  youthful  lover.  They  are  seated  on  a  marble  exedra  at 
the  head  of  a  flight  of  steps  flanked  by  a  parapet,  and  leading  down  to  the  sea,  which 
shows  in  the  distance  in  a  strip  of  sapphire  blue,  kissed  by  shell-hued  clouds.  The  lady, 
swathed  to  the  feet  in  a  drapery  of  the  color  of  caf£-au-lait ,  with  ribbons  of  ashes  of  roses 
on  her  shoulders  and  wrists,  reclines  with  her  weight  upon  her  right  hand,  and  holds  the 
pink  roses  before  her.  Her  companion,  whose  costume  is  a  woollen  cloak  of  yellowish 
brown,  worn  over  a  short  tunic  that  shows  his  feet  bound  round  with  leather  thongs,  leans 
forward  on  the  seat,  resting  on  his  arm.  The  little  scene  is  a  veritable  fragment  from  the 
antique  life. 

Signed  at  the  right  of  centre,  “  L.  Alma-Tadema,  Op.  CCXXXIV.” 

Height,  7  inches ;  length,  1 5  inches. 


MRS.  ALMA-TADEMA 


//• 


P  P 


46 


In  Good  Hands 


A  little  girl,  seated  in  a  dark  oak  high-backed  chair,  turns  from  her  needlework 
to  look  at  a  sick  boy  asleep  in  an  antique  bed,  which  has  massive  pillars  of  carved  wood. 
A  red  and  blue  paper  whirligig  rests  on  the  sheet,  and  on  the  floor  a  large  clasp  volume 
is  propped  against  the  bed.  The  older  child  wears  over  her  blonde  curls  a  white  cap  tied 
under  the  chin  with  little  tasselled  cords,  a  collar  of  flounced  lace,  a  pale  blue  skirt 
with  gray  spots,  and  a  white  scalloped  apron  over  a  brown  petticoat.  On  the  buff  wall 
behind  her  hangs  a  brass  candlestick  and,  beneath  a  wooden  shelf,  the  lace  front  of  a 
peasant’s  cap.  The  tiled  wainscot  on  the  left  shows  a  glimmer  of  blue. 

Height,  i  5  inches ;  width,  1 1  inches. 


KARL  BODMER 


1805-1889 


A  Pool  in  the  Forest 


As  evening  settles  over  the  forest  a  stag  is  drinking.  The  water  is  bordered  by 
silver  birch,  beyond  which  are  bushes  extending  to  a  slope  of  grass. 


Signed  at  the  lower  left,  “  K.  Bodmer,  ’85.” 


Height,  12 y2  inches;  width,  8*4  inches. 


BLAISE  DESGOFFE 


Cft!-  4 

Still  Life 


Painted  with  the  perfection  of  microscopic  detail  that  distinguishes  Desgoffe’s 
still  life,  the  subject  here  is  an  agate  vase  mounted  on  a  crimson  velvet  stand.  The  long 
curling  lip  is  covered  with  enamelled  gilt  work ;  the  looped  handle  is  of  twisted  green 
and  gold,  and  around  the  base  runs  a  row  of  knobs,  enclosed  in  a  gilt  mounting.  On 
the  right  of  the  stand  lies  a  bracelet  of  decorated  beads,  and,  on  the  left,  a  ring  with  an 
emerald  setting. 

Signed  at  the  lower  left,  “  Blaise  DesgofFe,  ’85.” 

Height,  \2.f  inches;  width,  if,  inches. 


R.  GOB 


if 


49 


The  Moon 


Poised  upright  amid  clouds,  the  figure  of  the  goddess  is  nude  except  for  a  slight 
wreath  of  blue  flowers  round  the  waist.  She  holds  a  white  owl  on  her  right  hand,  and  in 
her  left  a  long  wand,  terminating  in  a  calyx  from  which  ascends  a  thin  flame.  Her  bow 
is  slung  upon  her  arm. 

Signed  at  the  lower  right,  “  Gob  R.” 

Height,  12 y2  inches;  width,  if  inches. 


RAIMUNDO  DE  MADRAZO 


O  0 


After  Murillo 


50 —  St.  Elizabeth  of  Hungary 

(Copy  in  reduced  size  of  the  original  in  the  Academia  San  Fernando,  at  Madrid) 


Painted  in  1674,  the  original  was  one  of  eight  large  pictures  executed  by  Murillo 
for  the  Hospital  de  la  Caridad,  Seville.  Subsequently  it  was  included  in  the  loot  carried 
to  Paris  by  Marshal  Soult,  who  gave  it  to  Louis  XVIII.  at  the  Restoration.  After  rest¬ 
ing  for  some  time  in  the  Louvre  it  was  returned  to  Spain  in  1815. 

The  central  figure  is  that  of  St.  Elizabeth  in  the  garb  of  a  nun,  with  a  crown  on 
her  head.  She  stands  in  a  portico,  washing  the  scald-head  of  a  beggar  boy,  who  leans 
over  a  silver  basin  placed  upon  a  pedestal.  To  the  queen’s  right  are  two  young  ladies 
holding,  respectively,  a  ewer  and  a  tray.  Behind  them  stands  a  duenna.  At  the  foot 
of  the  picture,  on  the  left,  sits  a  man  removing  a  bandage  from  his  leg.  The  group  on 
the  right  consists  of  a  beggar  boy,  a  cripple,  and  an  old  woman  seated  on  the  floor,  who 
is  gazing  up  at  the  queen.  In  the  distance,  upon  the  right,  the  Saint  is  again  shown 
with  her  ladies,  serving  a  meal  to  poor  people  at  a  table  arrayed  in  a  loggia.  The  size 
of  the  original  is,  height,  165  inches;  width,  126  inches. 


Height,  10  inches  ;  width,  8  inches. 


GEORGES  JULES  AUGUSTE  CAIN 


51 


His  Eminence 


At  the  bend  in  a  flight  of  stone  stairs  a  cardinal  has  halted  and  is  turning  round, 
with  his  hat  lowered  in  his  hand,  as  if  accosting  some  one.  Under  his  left  arm  he  car¬ 
ries  a  black  portfolio.  The  stairs  lead  to  a  doorway  framed  with  pilasters,  to  the  left  of 
which  is  a  deeply  recessed  entrance. 

Signed  at  the  lower  right,  “  Georges  Cain,  1885.  Height,  12  inches;  width,  8j4  inches. 


52  — 


EUGENE  FROMENT 

A  Spray  of  Loves 


•  / 


A  bough  shows  against  the  blue  sky,  and  amidst  its  foliage  a  swarm  of  tiny  loves 
hovers  in  a  semicircle.  The  composition  has  a  charming  naivete ,  the  figures  being 
sketched  with  facile  grace. 


Signed  at  the  lower  right,  “  Eg.  Froment.” 


Height,  12^  inches;  width,  inches. 


#  * 


3  d  ■ 


LOUIS  (called  LMILE)  ADAN 
Out  for  a  IValk 


At  the  bottom  of  a  steep  path  in  the  pine  woods  a  lady  in  white  costume  and 
straw  hat  rests  her  foot  upon  a  stone  to  arrange  her  shoe,  revealing  by  the  gesture  a 
glimpse  of  scarlet  stockings.  She  carries  an  alpenstock. 

Signed  at  the  lower  left,  “  L.  Emile  Adan.” 

Height,  \2.y2  inches;  width,  Sy  inches. 


3  *2  3-  " 

54— 


PAUL  P.  TROUILLEBERT 


Landscape 


At  the  right  of  the  composition  birch  trees  surmount  a  grassy  slope,  where  a 
woman  in  blue  and  white  costume  is  sitting.  The  bank  descends  to  a  little  pool  which 
reflects  the  whitish  gray  of  the  horizon,  and  beyond  its  willowy  marge  a  field  extends  to 
a  gray-roofed  church.  The  sky  overhead  is  filled  with  rolling  clouds.  The  little  sketch 
is  tenderly  suggestive,  fresh  and  moist  in  tone. 

Signed  at  the  lower  right,  “  Trouillebert.” 

Height,  i  z  inches ;  width,  8  y  inches. 


JOSE  VILLEGAS 


55 —  At  the  Door  of  the  Harem 

Painter  of  the  “  Christening,”  and  of  the  “  Death  of  the  Matador,”  the  most  robust 
of  Fortuny’s  followers  and  the  most  able,  Villegas  shows  to  particular  advantage  in  a  little 
picture  like  the  present.  In  this  subject  of  a  stalwart  Arab  on  duty  before  a  closed  door 
every  detail  counts,  without,  however,  any  confusion  of  effect  or  weakening  of  the  central 
motive.  In  the  beautiful  elaboration  ot  the  architectural  ornament,  in  the  minute  decora¬ 
tion  of  the  flintlock,  in  the  sumptuous  embroidery  of  the  robe,  there  is  food  for  agreeable 
study,  and  yet  the  personality  of  the  man  stands  out  as  the  main  theme.  Beneath  his  lan¬ 
guorous  manner  lies  a  power  of  energy,  just  as  the  southern  fire  of  Villegas  himself  can  be 
discerned  beneath  the  sensuous  splendor  of  the  still-life  painting. 

The  soldier  lolls  against  the  side  of  a  door  richly  inlaid  with  a  latticed  mosaic  of 
cream  and  brown,  and  hung  with  heavy  gilded  fastenings,  the  surface  of  the  walls  being 
panelled  with  shallow  arcades  of  carved  niches.  Above  his  bronzed  face  is  a  pink  and 
white  turban,  and  hanging  from  his  neck,  so  as  to  leave  the  right  arm  and  shoulder  bare, 
a  slaty-blue  sash,  profusely  embroidered;  while  from  his  back  a  mustard-colored  robe  trails 
down  to  a  decorated  saddle  at  his  feet.  He  holds  a  long  musket,  the  stock  of  which  is 
ivory,  the  woodwork  inlaid,  and  the  barrel  wrought  with  arabesques  in  gilt.  To  the  right 
of  him  lies  a  large  brass  bowl. 

The  picture  presents  a  series  of  charming  morceaux ,  while  still  attaining  a  breadth 
of  impression. 

Signed  at  lower  left,  “  Villegas.” 

Height,  1 2  inches ;  width,  8  inches. 


*  * 


LOUIS  DESCHAMPS 


TTO- 

A  n  Appeal 


Against  a  golden-brown  background  a  pale-faced  girl  stands,  holding  out  her  hand 
with  a  gesture  of  entreaty.  Her  lips  are  parted,  and  her  eyes  are  fixed  with  a  tearful 
expression.  The  dress  of  brown  material  is  sketchily  suggested. 

Signed  at  the  lower  right,  “  Louis  Deschamps.” 

5  Height,  12  inches;  width,  8^  inches. 


WILLIAM  ETTY,  R.A. 

1787-1849 

S  t  t " 

57—  The  Toilet 


Such  a  simple  example  as  this  is  an  agreeable  variation  from  the  historical  and  sym¬ 
bolical  pictures  with  which  Etty  was  largely  identified.  A  lady  is  represented  at  her  toilet; 
her  figure  inclined  to  the  right,  and  her  head,  which  fronts  us,  lowered,  as,  with  one  hand 
poised  above  her  dark  hair,  and  the  other  held  near  the  back  of  her  neck,  she  arranges  a 
scarlet  ribbon.  Her  arms  and  neck  are  bare ;  a  full  chemise  showing  above  the  dull  red 
stays,  which  have  a  scalloped  flounce,  falling  over  the  black  skirt.  An  olive-gray  drapery, 
woven  with  white  leaves  and  red  flowers,  and  a  russet  brown  background  complete  a 
color  scheme  of  rich  sobriety,  with  which  is  pleasantly  contrasted  the  ripe  lustre  of  the  flesh 
tints. 

Height,  10^4  inches;  width,  8  inches. 


EASTMAN  JOHNSON,  N.A. 

&'  feu. 


58 


The  Dull  Scholar 


This  is  a  charming  example  of  Eastman  Johnson’s  domestic  genre,  natural  and  full  of 
character;  moreover,  an  artist’s  interpretation  of  the  subject,  harmonious  in  tone  and  excel¬ 
lent  in  craftmanship.  In  the  corner  of  a  room  with  drab-olive  walls,  a  little  boy  is  seated 
on  a  high,  rush-bottomed  stool.  He  has  one  hand  in  the  pocket  of  his  greenish  suit  and 
another  up  to  his  mouth,  looking  meanwhile  out  of  the  edge  of  his  eye,  half  rebelliously, 
half  shyly.  With  the  naivete  of  the  figure  a  picturesqueness  of  composition  is  united 
through  the  accessories  introduced.  On  the  wall  to  the  right  hang  a  gray  and  a  blue  mili¬ 
tary  cloak  and  alongside  them  a  brown  one;  while  on  the  opposite  wall  is  a  bunch  of 
accoutrements.  An  open  book  lies  upon  the  floor. 

Signed  at  the  lower  right,  “  E.  Johnson,  1861.” 

Height,  I  I  inches  ;  width,  9  inches. 


EDOUARD  FRERE 


1819-1886 

59 —  Youthful  Curiosity 


/? 


In  the  unaffected  sweetness  of  its  sentiment  and  the  subtlety  of  its  scheme  of  light 
and  shade,  this  is  an  admirably  characteristic  example  of  the  painter  of  Ecouen.  A  little 
girl  stands  with  her  back  against  a  high  window-sill,  reading.  The  afternoon  sun  plays 
upon  her  brown  hair,  tips  the  scarlet  of  her  scarf,  and  charges  the  atmosphere  of  the 

brown  interior  with  dusty  gold.  In  the  shadow  beneath  the  window  the  girl’s  blue 

apron  forms  a  cool  spot  of  color,  and  varieties  of  cool  effect  are  introduced  by  a 

Louis  XV.  chair  of  drab  woodwork  upholstered  with  russet  green,  and  by  a  basket 

and  wicker-covered  bottle  which  lie  on  the  floor.  There  is  a  charming  mellowness  in  the 
imbrowned  tones  of  the  picture,  and  a  dainty  refinement  in  the  complementary  hues,  that 
invest  the  subject  with  a  pensiveness  and  delicacy  of  sentiment. 

Signed  at  the  lower  left,  “  Ed.  FrSre,  ’57.” 

Height,  1 5  inches  ;  width,  1 1  V2  inches. 


/M  •• 


60 


G.  FRANCAIS 

y 

Landscape 


In  the  distance  is  a  campagna,  yellow  in  the  light,  bounded  on  the  left  by  violet 
hills  and  having  on  the  right  a  slight  eminence.  A  pool  of  water  lies  on  the  right  of  the 
foreground,  which  is  overhung  by  a  steep  bank,  at  the  top  of  which  a  man  and  a  woman 
stand,  leaning  upon  a  fence.  A  third  figure  appears  to  the  left  and  others  in  the  distance 
along  a  winding  road. 

Signed  at  the  left,  “  Francais,  1885.” 

Height,  7  inches ;  length,  22  inches. 


E.  TOTTIERE 


61  —  Nymphs  Bathing 


In  a  grassy  spot  bordered  with  trees  some  nymphs  are  preparing  for  the  bath.  On 

the  right  of  the  composition  a  nude  girl  is  seated  on  a  white  drapery,  looking  up  at 

another  who  is  balancing  herself  on  one  foot  as  she  draws  off  her  slipper.  A  third, 

with  a  blue  veil  streaming  from  her  shoulders,  is  running  toward  a  pool  in  the  back¬ 

ground,  in  which  some  figures  are  disporting  themselves. 

Signed  at  the  lower  left. 

Height,  7  inches ;  length,  2  2  inches. 


LEON  BARILLOT 

Cows  Drinking 


On  the  rushy  margin  of  a  river  are  three  cows,  one  of  which,  a  white  with  patches 
of  red,  turns  her  head  toward  us.  Several  others  are  standing  in  the  water,  near  the  oppo¬ 
site  bank.  On  the  right  of  the  farther  pasture  is  a  row  of  bluish-gray  trees. 

Signed  at  the  lower  right,  “  L.  Barillot.” 

Height,  7  inches ;  length,  22  inches. 


/  * 


HENRI  DUTZSCHHOLD 


63 


Ruins  of  a  Roman  Theatre 


C 


The  scene  recalls  the  ruins  of  the  Roman  theatre  at  Fiesole.  On  the  left  of  the 
composition  tiers  of  seats,  confused  with  fallen  masonry,  rise  in  the  side  of  the  hill,  that 
slopes  up  to  a  wall  over  the  top  of  which  are  visible  some  poplars  and  the  roofs  of  a  mon¬ 
astery.  The  ground  on  the  right  descends  to  a  plain  where  water  and  buildings  appear, 
the  distance  being  bounded  by  blue  mountains.  In  just  such  manner  spreads  the  Mug- 
none  Valley  to  the  far  barriers  of  the  Apennines. 

Signed  at  the  lower  left,  “  H.  Diitzschhold.” 

Height,  7  inches;  length,  22  inches. 


I.  FARNETZ 

64 —  ,  A  River  Scene 


Between  banks  dotted  with  pink  roofs  and  white  houses  nestling  amid  trees,  the 
vista  of  river  stretches  to  a  distant  tower.  In  the  foreground  of  the  picture,  on  the 
right  side,  is  a  landing  stage  to  which  boats  are  moored.  Gay  pennons  deck  the  mast¬ 
heads,  an  American  flag  floats  from  a  staff,  and  the  animation  of  the  scene  is  com¬ 
pleted  by  the  groups  of  brightly  dressed  people  who  throng  the  landing.  Painted  in 
a  broad  and  vivacious  style,  the  picture  is  full  of  life. 

Signed  at  the  lower  left,  “  I.  Farnetz,  1885.” 

Height,  7  inches ;  length,  22  inches. 


1 

65 — 


EUGENE  BENSON 


✓  # 


At  Biri  Grande 


The  scene  represented  is  a  loggia  of  Titian’s  country  villa  of  Biri  Grande,  over¬ 
looking  the  Venetian  lagoons.  At  the  head  of  a  long  table,  spread  with  plate  and  viands, 
the  great  artist  is  seated,  with  a  lady  on  his  left,  at  whose  side  is  Bembo.  The  centre  of 
the  group  at  the  other  end  of  the  table  is  the  beautiful  musician  and  poetess,  Guspara 
Stumpa,  playing  on  a  mandolin. 

Signed  at  the  lower  right,  “  EB.,  ’88,  Venetia.” 

Height,  7  inches  ;  length,  27  inches. 


R.  SWAIN  GIFFORD,  N.A 

<fC. 

A  Newport  Landscape 


The  foreground,  covered  with  grass  and  brush,  is  bounded  on  the  right  by  an 
abrupt  mass  of  rocks.  Farther  back,  on  the  left  of  the  picture,  are  gray  cliffs  with  yellow 
growth  upon  their  tops,  which  recede  toward  the  sand  dunes  in  the  distant  centre.  Beyond 
the  latter  is  visible  a  strip  of  grayish-blue  sea. 


Signed  at  the  lower  right,  “  R.  Swain  Gifford,  1887.” 


Height,  7  inches  ;  length,  27  inches. 


y y  6  $ % 

67 — 


/  r 


FRANK  D.  MILLET,  N.A. 


Vyv-  f- 


A  Knickerbocker  Citizen 


A  prosperous  citizen  of  the  Knickerbocker  period  is  represented  leaning  over  the 
lower  half  of  his  front  door,  smoking  a  long  pipe  as  he  gazes  over  the  river.  He  wears 
a  wide-brimmed  black  hat,  and  over  his  full  white  shirt  a  short  cream-colored  jacket, 
with  capacious  breeches  of  the  same  color.  On  the  stone  flagging  to  the  right  of  the  door 
stands  a  trestle  on  which  is  set  a  gris-de-Flandre  jug  with  pewter  lid.  The  picture  is 
painted  with  the  skilful  precision  that  characterizes  this  painter’s  work. 

Signed  at  the  lower  left,  “  F.  D.  Millet.” 

Height,  24  inches  ;  width,  8  inches. 


GEORGE  H.  BOUGHTON,  N.A., 

/r~<rzr.  * ' 

68  —  Black-Eyed  Susan 


R.A. 


C 


Holding  a  nosegay,  a  young  lady  is  walking  beside  the  sea,  which  is  bounded  in 
the  distance  by  gray  cliffs  with  yellow  herbage  on  their  summits.  Her  costume  consists  ot 
a  black  hat  tied  under  the  chin  with  ribbons,  and  a  short  black  jacket,  worn  over  a  dress 
of  white  organdie. 


Signed  at  the  lower  left,  “  G.  H.  Boughton.” 


Height,  24  inches  ;  width,  8  inches. 


/  tl'-V  • '  ‘ 

69  — 


R.  SWAIN  GIFFORD,  N.A. 


Rocky  Farm ,  Newport 


The  foreground  of  brown  scrubby  grass  dips  down  in  the  centre,  to  the  left  of 
which  gray  rocky  formations  crop  out.  A  sheet  of  water  winds  through  the  middle 
distance,  bounded  on  the  left  by  a  meadow  that  rises  gently  to  a  clump  of  trees.  The 
land  forms  a  strip  across  the  background,  showing  golden  brown  against  a  blue  horizon, 
over  which  is  a  sky  piled  with  clouds  that  catch  the  light  toward  the  left. 

Signed  at  the  lower  left,  “R.  Swain  Gifford,  1881.” 

Fleight,  1 6 inches;  length,  37  inches. 


FLORENT  WILLEMS 

Fkzx. 

The  Mother's  Prayer 


In  a  room  with  high  wooden  panelling  and  deep  blue  hangings  bordered  with 
embroidery  a  young  mother  kneels  beside  her  sleeping  baby.  Resting  her  elbows  on  the 
end  of  the  cradle,  she  clasps  her  hands  and  gazes  upwards.  She  is  dressed  in  the  elegantly 
simple  costume  of  the  seventeenth  century— a  dress  of  old-rose  satin  with  full  skirt,  a  tight 
bodice  with- hanging  flounce,  and  white  collar  and  cuffs.  The  cradle,  raised  above  the 
rockers  on  four  legs,  is  of  wood,  painted  blue,  with  pictures  on  the  panels,  one  of  which 
represents  the  Flight  into  Egypt.  It  is  surmounted  by  a  linen  hood  under  which  the  head 
of  the  sleeping  child  is  visible. 

Signed  at  the  lower  left,  “  F.  Willems.” 

Height,  16  inches;  width,  inches. 


F.  S.  CHURCH,  N.A. 

d  ■  " 

71 —  The  Enchantress 


A  tiger  lies  sideways,  on  the  left  of  the  picture,  with  its  eyes  fixed  upon  a  young 
girl  who  sits  blowing  through  a  long,  thin  pipe  into  a  brazier.  In  the  smoke  which  curls 
up  from  the  latter,  doves  are  hovering.  The  girl’s  figure  is  wrapped  in  a  diaphanous  white 
robe,  which  shows  vaguely  against  the  pale  green  foliage  and  vapory  distance. 

Signed  at  the  lower  right,  “  F.  S.  Church,  N.  Y.,  ’87.” 

Height,  7  Yi  inches ;  length,  1 8  inches. 


A.  KEAJDER 


Flowers 


-6.  S. 


The  bouquet  consists  of  a  crimson  rose  set  amid  white  ones  and  surrounded  by  a 
profusion  of  buds. 


Signed  at  the  lower  left,  “fa.  Keajder.  ” 


Height,  7  inches ;  length,  22  inches. 


H.  CONSTANTIN  RENARD 

Still  Life 


Upon  a  table  lie  a  bunch  of  asparagus  and  some  large  red  strawberries,  displayed 
upon  a  basket  lid.  Near  by  is  a  tumbler  half  full  of  water,  and  over  the  edge  of  the  table 
projects  a  sharp-pointed  kitchen  knife. 

Signed  at  the  lower  left,  “  H.  Constantin  Renard.” 

Height,  7  inches ;  length,  22  inches. 


* 


CHARLES  CARYLL  COLEMAN,  A.N.A. 


74— 


A  Capri  Meadow 


Beyond  the  meadow  lies  the  blue  water,  with  Vesuvius  in  the  distance,  and  a  range 
of  lavender  mountains  to  its  right.  Near  the  centre  winds  a  path  beside  which  a  girl  is 
seated  on  a  stone  wall,  talking  to  another,  who  stands  knitting  under  a  small  tree.  A  little 
way  from  them  a  third  is  stooping  to  gather  flowers. 

Signed  at  the  lower  right,  “  DC  Capri.” 


Height,  6  inches ;  length,  24  inches. 


CHARLES  CARYLL  COLEMAN,  A.N.A. 


S <? (? . 

75—  A  Scene  in  Capri 


An  irregular  mass  of  masonry  gleams  white  against  the  deep  blue  of  the  sky.  On 
some  stone  steps  at  the  right  sits  a  girl  with  a  green  water  jar,  and  on  an  arch  above  her 
are  two  others,  one  of  whom  is  dressing  her  hair,  while  two  more  stand  at  the  left,  hold¬ 
ing  jars  upon  their  heads. 

Signed  at  the  lower  centre,  “  X  Capri.” 


Height,  5  y2  inches ;  length,  24  inches. 


HENRI  JEAN  GUILLAUME  MARTIN 


76 


Sunshine  and  Shadow 


Within  a  violet  shadow,  that  spreads  in  a  band  across  the  poppy-sprinkled 
meadow,  a  child  lies  on  its  back.  Upon  the  edge  of  the  shadow  a  large  beech  trunk  grows, 
and  a  girl  in  pink  dress  stands  near  a  flock  of  geese.  Behind  them  the  sunshine  forms  a 
streak  of  yellow,  and  in  the  distance  are  a  farm  and  hills.  The  picture  is  an  interesting 
little  study  by  a  painter  who  has  won  notable  distinction  in  allegorical  subjects,  treated  for 
the  most  part  in  a  high  key  of  color. 


Signed  at  the  lower  left,  “  Henri  Martin,  ’86.” 


Height,  7  inches ;  length,  22  inches. 


*  * 


J.  CARROLL  BECKWITH, 


N.A 


rt>- 

t 


A  Summer  Evening 


The  composition  shows  a  vista  of  river  in  the  front  of  which  a  lady  is  seated  in  a 
boat,  holding  the  sculls.  Her  costume  is  black,  and  the  flash  of  a  scarlet  feather  in  her 
hat  is  answered  by  the  awning  of  a  boat  moored  at  some  distance  back,  beneath  a  summer¬ 
house  on  the  bank.  Among  the  trees  beyond  appears  also  a  red  building.  The  sun  is 
sinking  into  a  bed  of  lavender  haze. 

Signed  at  the  lower  left,  “  Carroll  Beckwith.” 

Height,  24  inches  ;  width,  8  inches. 


c  * 


78  — 


AMANDA  BREWSTER  SEWELL 


A  Nymph 


s  A 

'Xj?  I/LaaSac. 


1 


Clad  in  a  Greek  costume  of  soft  creamy  material,  a  girl  approaches  across  the 
grass,  sunshine  sprinkled  in  flakes  of  light  over  her  figure  and  upon  the  apple  tree  behind 
her.  She  walks  in  a  pensive  mood,  with  her  left  hand  to  her  breast  and  a  scroll  held  in 
her  right. 

Signed  at  the  lower  left,  “A.  B.  Sewell,  1895.” 

Height,  23  inches ;  width,  8^£  inches. 


*  t 


KENYON  COX,  N.A. 


4 


79 —  On  the  Edge  of  the  Brook 


A  girl  who  is  seated  on  a  bank  is  robed  in  a  white  drapery  that  leaves  her  right 
arm  and  side  exposed.  A  dull  red  drapery,  held  in  her  left  hand,  passes  under  the  figure 
and  reappears  on  the  right  side.  Through  the  meadow  beyond,  a  nude  is  swiftly  moving 
away,  with  her  hands  held  up  to  her  head. 

Signed  at  the  lower  right,  “  Kenyon  Cox,  ’87.” 

Height,  23  inches;  width,  8 y2  inches. 


0  e 


80 


LUC  OLIVIER  MERSON 

Diana 


This  painter  of  historical  and  allegorical  subjects  has  occasionally  executed  deco¬ 
rative  subjects,  and  the  present  is  a  miniature  example  of  the  latter.  The  goddess  is 
represented  reclining  upon  creamy  clouds,  flushed  with  rose,  a  black  drapery  falling  over 
her  knees.  A  cupid,  poised  above,  whispers  in  her  ear,  and  another  floats  beneath  her. 
An  owl  hovers  in  the  air. 

Signed  at  the  upper  left,  “  Lvc  Olivier  Merson,  MDCCCLXXXV.” 

Height,  24  inches ;  width,  20  inches. 


THOMAS  COLE,  N.A. 


1801-1848 


A  Roman  Aqueduct 


One  may  see  in  this  picture  how  Poussin  and  Salvator  Rosa  affected  Cole’s 
impression  of  Italy,  and  trace  also  something  of  the  spirit  which  prompted  his  series  of 
the  “  Course  of  Empire.”  The  scene  is  wild  and  desolate,  the  wreck  of  a  mighty  past. 
The  foreground  is  a  confusion  of  fallen  masonry,  coarse  grass,  and  scrub ;  to  the  right  is  a 
ruin  of  ponderous  vaulted  roofs  upon  giant  piers ;  and  diagonally  across  the  middle  dis¬ 
tance  the  broken  line  of  an  aqueduct,  beyond  which  the  desolate  campagna  continues  to 
the  foothills  of  the  Alban  Mountains.  These  are  seen  through  clouds  which  float  over 
the  slopes  in  wreaths,  or  ascend  like  smoke  to  the  warm  creamy  sky,  where  gray  clouds 
are  piled  in  masses  toward  the  right.  The  picture  is  impressive,  revealing  an  almost 
stern  intensity  of  purpose. 

Signed  on  the  back,  “T.  Cole,  Florence,  1832,”  and  inscribed,  “Presented  to  W.  A.  Adams  by  T.  Cole, 
1834.” 


Height,  14  inches ;  length,  22  inches. 


82  — 


EDWIN  H.  BLASHFIELD,  N.A. 

The  Sculptor's  Model 


A  sculptor  sits  at  a  table,  fashioning  a  figure  in  clay;  while  his  model,  a  young 
girl,  reclines  in  a  chair,  swathed  in  rose-colored  drapery.  He  himself  is  nude  but  for  a 
pale  green  drapery  which  hangs  from  his  left  shoulder  and  falls  over  his  lap.  The  studio 
is  lined  with  white  marble  inlaid  with  dull  red  panels,  and  along  the  wall  is  a  marble 
lounge  with  green  cushions. 

Signed  at  the  lower  right,  “  E.  H.  BlashfieJd.” 

Height,  17^4  inches;  length,  18^4  inches. 


AIME  NICOLAS  MOROT 


83—  W hen  the  IV or  Id  was  Young 


The  scene  of  this  little  idyl  is  a  grassy  slope  underneath  a  beech,  where  a  shep¬ 
herd  lad  is  explaining  to  a  young  shepherdess  the  mysteries  of  the  pan-pipes.  She  wears 
a  white  drapery,  fastened  below  the  breasts  with  a  girdle,  and  a  black  skin  loosely  flung 
around  her  figure.  The  boy  is  nude.  The  girl’s  crook  and  hat  lie  beside  her  on  the 
bank,  at  the  foot  of  which  is  a  little  pool. 

Signed  at  the  lower  right,  “  Aime  Morot,  1886.” 

Height,  24  inches  ;  width,  inches. 


GEORGE  H. 

c  t 

84— 


BOUGHTON,  N.A.,  R.A. 


The  Cronies 


/) 


Perhaps  one  may  detect  in  this  very  good  example  of  George  Boughton  a  certain 
influence  of  Edouard  Frere,  whose  friendship  and  advice  he  enjoyed  during  his  stay  in 
Paris.  Two  old  peasant  women  are  seated  before  a  large  square  fireplace  ;  one  with  her 
back  to  us,  extending  her  hands  toward  the  scanty  glow,  while  her  companion  turns 
toward  her,  leaning  forward  in  her  talk.  On  the  high  mantel  shelf  stand  bits  of  china,  a 
little  cross,  books,  and  bottles.  The  white  caps  of  the  old  women  and  touches  of  dull 
blue  and  red  in  their  costumes  unite  with  the  drab  wall  to  complete  an  agreeable  tone 
effect,  very  grave  and  tender  in  feeling. 

Signed  at  the  lower  left  panel,  “  G.  H.  Boughton,  1887.” 


Height,  23  inches ;  length,  23^  inches. 


RAIMUNDO  DE  MADRAZO 


3 


U  /•  " 

85— 


01- 


A  Spanish  Beauty 


In  a  familiar  vein,  though  more  spontaneous  than  sometimes,  Madrazo  has  here 
represented  a  girl  in  exquisitely  dainty  costume,  sitting  beneath  a  vine-covered  trellis. 
His  fondness  for  pink  is  again  evident,  in  the  hue  of  her  skirt,  delicately  suffused  with 
lavender ;  and,  as  she  crosses  one  leg  over  the  other,  she  reveals  a  silk  stocking  of  shell¬ 
like  pink,  and  dangles  in  her  right  hand  a  yellow  fan  with  a  decoration  of  purple 
flowers.  Her  toes  are  tipped  into  embroidered  slippers.  A  flash  of  accentuation  is  given 
to  her  figure  by  the  black  corset,  cut  square  over  the  bosom,  and  edged  with  lace,  while 
with  studied  negligence  a  white  mantilla  drapes  her  hair,  in  which  there  is  the  gleam  of 
a  crimson  ribbon.  Some  red  roses  lie  upon  the  ground  beside  her  foot. 

The  picture  admirably  represents  Madrazo’s  pure  and  delicate  coloring  and  the 
vivacity  of  his  technique. 

Signed  at  the  lower  left,  “  R.  Madrazo.” 

Height,  38 inches;  width,  inches. 


GEORGE  H.  BOUGHTON,  N.A.,  R.A. 

86—  Marvell's  Last  Visit  to  Milton 

The  group  is  gathered  in  front  of  a  homestead,  the  lower  story  of  which  is  built 
of  red  brick,  with  timber  and  plaster  above.  Covered  with  a  long  gray  wrapper,  Milton 
sits  in  the  centre,  holding  the  hand  of  Andrew  Marvell,  his  friend,  who  was  his  assistant 
when  he  was  Latin  Secretary  to  Cromwell,  and  who  leans  over  him,  with  his  disengaged 
hand  on  the  back  of  the  seat.  To  the  right  sits  one  of  the  daughters,  gazing  with  solici¬ 
tude  into  her  father’s  face,  while  her  hand  rests  upon  a  book  on  the  table  at  her  side.  The 
other  daughter  stands  behind  the  poet’s  chair,  and  a  maid,  carrying  a  tray,  appears  in  the 
doorway.  To  the  left  of  the  main  group  a  violoncello  player  sits  beside  a  man  who 
holds  a  book  of  music.  The  scene  is  bounded  by  a  hedge,  over  the  top  of  which  a 
dovecote  and  trees  are  visible. 

The  picture  offers  a  good  specimen  of  the  old  colonial  subjects  which  have 
made  Mr.  Boughton  popular  on  both  sides  of  the  Atlantic. 


Signed  at  the  lower  right,  “  G.  H.  Boughton.” 


Height,  27^  inches;  length,  65  inches. 


C  4<J-  " 


JOHN  F.  KENSETT,  N.A. 


IV incisor  Castle 


The  scene  is  pictured  from  a  point  of  view  where  now  the  railway  bridge  spans 
the  river.  The  water  stretches  away  from  the  foreground,  with  juicy  green  meadows  on 
each  side.  Willows  fringe  the  left  bank,  and  on  the  opposite  one  a  gate  crosses  the 
towing  path,  upon  which,  a  little  farther  back,  appears  the  figure  of  a  man  carrying  milk 
pails,  his  herd  of  cows  being  strung  out  in  two  lines  to  the  right.  In  the  middle  distance 
floats  a  barge  with  one  mast,  and  other  shipping  is  moored  in  the  distance  below  the 
town,  which  nestles  in  tiers  of  red  roofs  beneath  the  castle  rock.  The  ramparts  and 
bastions  rise  in  terraces  to  St.  George’s  Chapel  and  the  central  keep,  which  loom  softly 
gray  in  the  warm  haze  ot  the  evening  sky,  simmering  overhead  with  roseate,  creamy 
atmosphere.  With  characteristic  delicacy  of  imagination  and  of  treatment,  the  majestic 
pile  and  the  simple  charm  of  its  rustic  setting  are  rendered  with  true  feeling  alike  for  the 
grandeur  and  for  the  sweetness  of  the  scene. 

Signed  at  the  lower  right,  “].  F.  K.,  1867.” 

Height,  29  inches  ;  length,  44  inches. 


SIR  LAURENCE  ALMA-TADEMA,  R.A. 

J?  4  3  <0  /His  ■  d^fs^rCRAts^ 

88 —  ^  Reading  from  Homer 


The  spirit  of  the  old  Greek  life,  its  grace  of  living,  and  beautiful  environment  are 
revived  in  this  picture  with  the  fulness  of  learning  and  reasonableness  of  suggestion  that 
render  the  work  of  Alma-Tadema  unique.  A  poet  is  declaiming  his  verse  to  a  small  but 
intently  sympathetic  audience.  They  are  gathered  in  a  little  amphitheatre  of  marble  that 
stands  on  an  eminence  overlooking  the  blue  sea,  in  front  of  a  temple  dedicated,  we  may 
believe,  to  Apollo.  For  the  spot  is  evidently  devoted  to  poetry,  Homer’s  name  being 
incised  in  the  marble  behind  the  reader’s  seat ;  and  hither  he,  who  has  some  fine  thought, 
and  those  who  desire  to  “  hear  some  new  thing,”  can  resort. 

Holding  the  roll  of  manuscript  upon  his  knee  and  extending  its  long  scroll  with 
his  left  hand,  the  poet,  crowned  with  bay,  leans  forward  in  his  seat,  gazing  at  a  young 
girl  in  the  group  before  him.  Robed  in  white,  with  daffodils  in  her  hair,  she  reclines 
against  the  back  of  the  exedra ,  holding  a  tambourine,  decorated  with  figures  on  a  red 
ground.  One  of  her  hands  lies  in  the  grasp  of  a  young  man  who  sits  on  the  floor  beside 
her  with  knees  drawn  up.  He  is  resting  his  right  hand  on  a  lyre,  which  has  graved  orna¬ 
ments  and  screw  pins  of  brass.  In  front  of  him,  prone  upon  the  ground,  lies  a  youth 
swathed  in  a  short  bearskin,  who  supports  his  chin  on  his  hand  as  he  looks  up  at  the  poet. 
To  the  left  of  the  group  stands  a  figure  in  a  drab  cloak,  with  a  wreath  of  red  and  white 
anemones  in  his  hair. 

Signed  at  the  right,  “  Alma-Tadema,  op.  CCLXVII.’ 

Height,  36  inches ;  length,  72  inches. 


#  » 


JOSE  VILLEGAS 


Fat 

89- 


The  Page 


/■e? 


Manifested  in  this  picture  are  the  feeling  for  the  pomp  and  pride  of  life  and  a 
skill  in  the  delineation  of  sumptuous  textures  that  distinguish  the  followers  of  Fortuny,  as 
well  as  a  certain  robustness  of  style,  characteristic  of  Villegas  himself.  Upon  a  scarlet 
carpet  that  forms  a  strip  down  the  marble  pavement,  and,  like  it,  is  strewn  with  flowers,  a 
page  in  elaborate  costume  of  the  Cinquecento  stands,  holding  a  velvet  cushion.  It  is 
embroidered  with  a  coat  of  arms,  which  reappears  on  the  front  of  the  young  man’s  plum- 
colored  doublet.  The  latter  is  edged  with  white  fur  round  the  neck  and  armholes,  which 
leave  exposed  the  gold  and  rose  brocade  sleeves  of  the  undergarment.  He  wears  a  gold 
chain  over  his  breast,  and  his  legs  are  clothed  in  tights,  magenta  and  flesh-colored  respect¬ 
ively,  with  a  magenta  band  round  the  calf.  Behind  the  figure  rises  a  step  on  which 
stands  a  pedestal  altar  of  carved  marble.  A  tall  wax  candle  leans  against  it,  and  in  an  arc 
behind  it  kneeling  pages  hold  tapers,  the  lights  from  which  shed  smoke  and  glare  into 
the  upper  darkness  of  the  background.  The  color  scheme  is  treated  with  effective 
breadth,  while  the  details  are  delicately  elaborated. 

Signed  at  the  lower  left,  “Villegas,  Hispalis,  MDCCCLXXXV.” 

Height,  78  inches  ;  width,  39  inches. 


<rv-v.  " 


LORD  LEIGHTON,  P.R.A. 

1830-1896  (j>  irC tt  V  v  r  (  v- 

Mural  Paintings  U 

A  MYTHOLOGICAL  TRIPTYCH  ILLUSTRATING  MUSIC 

CENTRAL  PANEL 


Against  a  background  of  dull  gold,  Mnemosyne  is  represented  in  an  attitude  of 
contemplation.  She  leans  forward  with  one  leg  crossed  over  the  other ;  a  pose  that 
permits  an  intricate  play  of  folds  to  her  costume.  This  consists  of  an  ashy  purple  robe, 
worn  over  a  white  chemise  and  wrapped  round  with  dull  amber  drapery.  Above  her 
float  two  maidens,  the  upper  sides  of  whose  wings  are  blue,  with  under  feathers  of  dove 
gray  and  white.  They  hold,  respectively,  a  lyre  and  a  scroll.  In  front  of  the  Muse 
stand  two  tripods,  a  snake  coiling  round  and  rearing  above  the  left  one,  while  a  branch 
of  bay  leans  against  the  other. 

On  the  left  of  the  composition  is  the  standing  figure  of  Melpomene,  draped  from 
neck  to  feet  in  slaty  blue,  with  a  grayish-purple  veil  floating  from  behind  her  head.  The 
right  hand,  clasping  a  scroll,  supports  her  left  elbow,  the  left  hand  being  against  her 
cheek.  The  pendant  to  this  figure  is  Thaleia,  whose  mantle  of  reddish  plum  color  is 
drawn  tightly  over  her  head  and  form,  so  that  only  the  face,  looking  upwards  with  a  sad 
expression,  and  the  right  hand,  grasping  the  white  undergarment  beneath  her  chin,  are 
visible. 


Height,  85  inches  ;  length,  130  inches. 


91 


RIGHT  PANEL 


A  maiden,  representing,  perhaps,  Terpsichore,  pirouettes  upon  her  toes,  with  her 
back  toward  us  and  her  head  looking  over  her  shoulder,  as  she  holds  aloft  a  tambourine. 
By  her  side  skips  a  nude  boy  with  head  thrown  back,  blowing  into  double  pipes,  one  of 
which  he  holds  in  each  hand.  The  maiden  wears  a  robe  of  tea-leaf  brown  that  leaves 
her  right  breast  and  shoulder  bare,  and  round  her  floats  a  creamy  drapery  with  golden 
shadows  in  the  swirling  folds. 

Height,  85  inches  ;  width,  50  inches. 


LEFT  PANEL 


Garbed  in  a  rosy  robe  which  leaves  her  arms  and  one  leg  exposed,  a  maiden, 
possibly  figuring  Erato,  stands,  poising  a  garland  of  roses  above  her  head.  At  her  feet, 
stooping  to  tune  a  lyre,  is  a  winged  girl  with  rich  golden-brown  feathers  on  her  pinions, 
changing  at  the  tip  to  bluish  gray. 

Height,  85  inches ;  width,  50  inches. 

The  background  throughout  the  series  is  of  dull  gold,  enclosed  in  borders  of  laurel 
or  wave  designs.  The  figures  possess  the  exquisite  grace  of  line  and  movement,  and  the 
draperies  that  chaste  refinement  in  the  disposure  of  folds  and  masses  which  distinguish 
Leighton’s  Neo-Greek  subjects,  and  show  to  particular  advantage  in  subjects,  such  as  these, 
of  pure  decorations. 


GEORGE  H.  BOUGHTON,  N.A.,  R.A. 

W'  "  cf-  ' 

93—  A  Golden  Afternoon ,  Luccombe  CMneJ 

Isle  of  PVight 

Down  the  slope  of  hills  in  the  foreground,  to  the  left  of  which  is  a  stile  in  a  stone 
wall,  a  shepherd,  accompanied  by  his  collie,  drives  his  sheep  into  a  fold  of  hurdles  that 
occupies  the  centre  of  the  composition.  Beyond  this  a  line  of  trees  is  broken  by  the  red 
roofs  of  a  farmhouse,  while  a  larger  one  appears  farther  back,  surrounded  by  wheat  ricks. 
On  the  right  is  a  distant  peep  of  blue  sea,  bounded  by  a  range  of  chalk  cliffs.  The  sky 
is  blue,  mottled  with  gray  and  dun-colored  clouds. 


Signed  at  lower  left,  “  G.  H.  Boughton,  1888.” 


Height,  46  inches ;  length,  84  inches. 


245  217  246 


AW  Els  on  &  Co,  Boston 


161 


317 


320 


318 


319 


FIRST  AFTERNOON'S  SALE 


Saturday,  January  24th,  1903 

BEGINNING  PROMPTLY  AT  3  O’CLOCK 

Antique  Chinese  Porcelain 

101  —  Miniature  Vase. 

Oviform  bottle  shaped.  Mirror-black  glaze. 

102  —  Miniature  Ovoid  Vase. 

Rose  souffle  glaze.  Yung-cheng,  1723—1735. 

103  —  Miniature  Vase. 

Cylindrical.  Mustard-yellow  crackle  glaze. 

104  —  Writer ’s  Water  Jar. 

Globular  form.  Thin  white  porcelain,  coated  with  an  imperial  yellow  glaze  ;  phoe¬ 
nixes  and  cloud  forms  incised  and  enamelled  in  green  and  purple. 

105  —  Writer's  Water  Dish. 

Thick  porcelain  of  the  Ch’ien-lung  period  (1736—1795).  Incised  and  carved  decora¬ 
tion  beneath  a  pale  celadon  glaze. 


106  —  Wine  Cup. 


Hard  paste.  Outer  surface  covered  with  a  minutely  crackled  apple-green  glaze  of  fine 
iridescence.  K’ang-hsi,  1662—1722. 


107  —  Miniature  Vase. 

Oviform  bottle  shaped.  Minutely  crackled  mustard-yellow  glaze.  Teakwood  stand. 


108 — Writer's  Water  Jar. 

Globular  form  on  tripod.  Coral-red  glaze  of  fine  quality.  Seal  mark  underneath. 
Ch’ien-lung,  1736-1795. 


109  —  Miniature  Bottle-shaped  Vase. 

Mustard-yellow  crackle  glaze.  Teakwood  stand. 


110  —  Imperial  Wine  Cup. 

Semi-eggshell  porcelain  of  the  Ch’ien-lung  period  (1736—1795).  Miniature  figures, 
garden  scenes,  and  other  decoration  exquisitely  painted  in  enamels  and  gold. 
Seal  mark  pencilled  in  coral  red. 


Ill  —  Tripod  Perfume  Burner. 

Oviform.  Covered  with  a  brilliant  glaze  of  cafe-au-lait.  Teakwood  stand  and  cover. 


112  —  Small  Bottle-shaped  Vase. 

With  bulbous-shaped  mouth. 

1 7  23— 1 735* 


Invested  with  a  pale  green  glaze.  Yung-cheng, 

Height,  5  inches. 


113 — Quadrilateral  Vase. 

Thin  porcelain  of  the  Ch’ien-lung  period  (1736—1795). 
yellow  crackle  glaze.  Ribbon  handles  at  neck. 


Invested  with  mustard- 
Height,  5^  inches. 


114  —  Miniature  Oviform  Vase. 

Covered  with  camelia-leaf  green  glaze  which  is  minutely  crackled  throughout. 


115  —  Miniature  Bottle-shaped  Vase. 

Invested  with  a  fine  flambe  glaze  of  red,  purple,  and  black.  K’ang-hsi,  1662-1722. 

116  —  Miniature  Vase. 

Bottle  shaped.  Covered  with  gris-pearl  glaze  which  is  marked  with  a  pronounced 
crackle.  Seal  mark  of  Ch’ien-lung  (1736—1795)  pencilled  in  blue  underneath 
foot. 


117  —  Miniature  Oviform  Jar. 

Thick  porcelain.  Invested  with  a  brilliant  glaze  of  caf'e-au-lait. 

118 — Writer's  Water  Vessel . 

Outer  surface  covered  with  a  brilliant  red  glaze  of  sang-de-bceuf  tint.  Ch’ien-lung, 

i736-!795. 


119  —  Ouadrilaieral  Vase. 

/'W' 

Hard  paste.  Covered  with  a  pale  turquoise-blue  glaze.  The  Pa  Kua,  the  eight 
diagrams  or  trigrams,  carved  in  the  paste  in  low  relief. 

Height,  S/4  inches. 

120 — Bottle-shaped  Vase. 

With  bulbous-shaped  mouth.  Of  heavy  texture,  which  is  invested  with  a  brilliant 
mirror-black  glaze. 


Height,  5  inches. 


121  —  Small  Bottle-shaped  Vase. 

Mustard-yellow  crackle  glaze. 


Height,  inches. 


122  —  Small  Pear-shaped  Vase. 

Invested  with  a  deep  brown  and  gold-dust  souffle  glaze.  Mark  of  Ch’eng-hua, 
1465-1487. 

Height,  5  inches. 

123  —  Fire  Bowl. 

Semi-globular.  Invested  with  a  green  glaze  containing  a  delicate  and  uneven  crackle. 

Diameter,  4  inches. 

124  —  Cylindrical  Vase . 

Thick  porcelain.  Invested  with  a  mustard-yellow  crackle  glaze. 

125  —  Bottle-shaped  Vase. 

Variegated  enamel  glaze  in  imitation  of  agate 

126 — Beaker-shaped  Vase. 

Covered  with  a  brilliant  vio\et-color  glaze. 

Height,  6  inches. 

127  —  Oviform  Vase. 

Hard  paste  of  the  K’ang-hsi  period  (1662-1722).  Invested  with  a  mustard-yellow 
glaze  which  is  minutely  crackled  throughout. 


Height,  5  inches. 


Height,  6  inches. 


Height,  6  inches. 


128  —  Globular  Jar. 

Outside  invested  with  a  brilliant  red  glaze  which  is  slightly  streaked  with  purple  round 
the  shoulder.  Inside  and  underneath,  cream-white  glaze. 

Diameter,  4^  inches. 

129  —  Oviform  Vase. 

Thick  porcelain.  Covered  with  a  pale  turquoise-blue  glaze  over  a  thin,  delicate  crackle. 

Height,  6  inches. 

130  —  Incense  Burner. 

Dense  porcelain.  Invested  with  a  red  glaze  typical  of  “  ox-blood”  color.  K’ang-hsi, 
1662-1722.  Teakwood  cover. 

Depth,  s]4  inches. 

Miniature  Vase. 

Bottle  shaped.  Invested  with  camelia-leaf  green  crackle  glaze. 


131 


Height,  5  inches. 


132 


Bottle-shaped.  Vase. 

Thick  porcelain.  Invested  with  a  monochrome  glaze  of  deep  violet. 

Height,  t}4  inches. 

133  —  Oviform  Vase. 

Of  crackle  texture,  and  covered  with  an  apple-green  glaze  of  iridescent  quality. 

Height,  5  inches. 

134  —  Fire  Bowl. 

Semi-globular  form.  Brown  crackle  texture,  which  is  invested  with  a  brilliant  cafe-au- 
lait  glaze.  K’ang-hsi,  1662-1722. 


135  —  Small  Globular  Jar. 

Clear  white  porcelain  of  the  K’ang-hsi  period  (1662—1722).  Decoration  of  floral 
scrolls  in  peach-bloom  tint.  Six-character  mark  pencilled  in  blue.  Silver  inlaid 
teakwood  stand. 

Diameter,  4  inches. 


136  —  Small  Quadrilateral  Vase. 

Thick  porcelain.  Invested  with  a  sang-de-basuf  glaze  applied  over  a  pale  celadon. 

Height,  bl/2  inches 


137  —  Small  Beaker. 


Invested  with  a  monochrome  glaze  of  camelia-leaf  green. 


Height,  S/4  inches. 


138  —  Oviform  Vase. 

Invested  with  a  monochrome  glaze  of  deep  purple. 


Height,  5  ]/z  inches. 


139  —  Small  Pear-shaped  Vase. 

Thick  porcelain  of  the  K’ang-hsi  period  (1662-1722).  Invested  with  iron-rust  glaze 
of  brilliant  quality. 

Height,  iyz  inches. 

140  —  Pottle-shaped  Vase. 

Covered  with  a  monochrome  glaze  of  apple  green,  and  minutely  crackled  throughout. 

Height,  Z/4  inches. 

141  —  Bottle-shaped  Vase. 

Invested  with  a  brilliant  mirror-black  glaze  ;  mouth  and  foot  of  celadon  crackle.  In¬ 
cised  mark  underneath. 

Height,  6 yz  inches. 

142  —  Oviform  Vase . 

Thick  texture.  Covered  with  a  fine  iron-rust  glaze.  Teakwood  stand. 

Height,  7 yz  inches. 

143 — Writer  s  Water  Jar. 

Fashioned  after  a  fabulous  beast.  Covered  with  flambe  glaze.  (Repaired.)  Teakwood 
stand. 


144 — Writers  Water  Jar. 

Similar  to  the  preceding.  (Repaired.)  Teakwood  stand. 


145  —  Melon-shaped  Vase. 

Invested  with  a  monochrome  glaze  of  camelia-leaf  green  over  a  minute  crackle. 

Height,  5  inches. 

146  —  Small  Bottle-shaped  Vase. 

Clear  white  porcelain  of  the  Ch’ien-lung  period  (1736—1795).  Decoration  of  dragon, 
fire  emblems,  and  pearl  of  omnipotence  in  peach-bloom  tint,  and  cloud  forms 
and  turbulent  water  in  bleu-de-N ankin .  Seal  mark  beneath. 

Height,  5J5^  inches. 


147  —  Miniature  Fish  Jar. 

Outside  covered  with  a  brilliant  red  glaze,  slightly  streaked  with  purple  round  shoulder. 

Diameter,  4^  inches. 

148  —  Porcelain  Bowl.  » 

Chrysanthemum  shape,  the  stem  forming  feet.  Partially  covered  with  flambe  glaze. 
Teakwood  stand. 


Diameter,  4^  inches. 


149  —  Small  Globular  Vase. 


Covered  with  a  monochrome  glaze  to  imitate  iron  rust. 

150  —  Bottle-shaped  Vase. 

In  brilliant  sang-de-bceuf  $2lzq.  Ch’ien-lung,  1736—1795. 


Height,  2>lA  inches. 


151  —  Small  Oviform  Vase. 

With  tubes  at  neck  for  hanging.  Thick  texture,  which  is  coated  with  a  cafe-au-lait 
glaze  over  a  pronounced  crackle.  K’ang-hsi,  1662—1722. 


152  —  Oviform  Vase. 

Thick  porcelain  of  the  K’ang-hsi  period  (1662—1722). 
and  gold-dust  glaze. 


Invested  with  a  rich  brown 
Height,  5  inches. 


153  —  Miniature  Fish  Jar. 


Clear  white  texture.  The  outer  surface  covered  with  a  fine  monochrome  glaze  of 
coral  red. 

Diameter,  ^A  inches. 


154 — Small  Cylindrical  Vase. 

Thick  texture,  and  covered  with  tea-dust  glaze. 

i736-!795- 


155  —  Lang-Yao  Incense  Jar. 


Incised  seal  mark  of  Ch’ien-lung, 
Height,  5  A  inches. 


Circular  form.  Invested  with  a  brilliant  red  glaze  with  faint  purple  shadings.  Teak- 
wood  openwork  cover. 

Diameter,  5  inches. 

156  —  Small  Fear-shaped  Vase. 

Enamelled  with  a  monochrome  glaze  of  pale  turquoise-blue,  minutely  crackled. 

Height,  6  inches. 

157  —  Small  Galipot. 

Thick  texture,  which  is  coated  with  a  deep  red  glaze.  The  rim  of  neck  is  defined  by 
a  rim  of  brown  crackle.  Ch’ien-lung,  1736-1795. 

Height,  6  inches. 


158  —  Slender  Oviform  Vase. 

Thin  texture  of  the  K’ang-hsi  period  (1662-1722).  Invested  with  a  monochrome 
glaze  of  camelia-leaf  green. 


Height,  5  Az  inches. 


Height,  6 yz  inches. 


159  —  Small  Gourd-shaped  Vase. 

Thick  texture,  and  invested  with  a  mottled  red  glaze. 


160  —  Small  Galipot. 


Clear  white  porcelain  of  the  Yung-cheng  period  (1723-1735).  Enamelled  with  a 
monochrome  glaze  of  lapis-lazuli  tint  of  soft,  even  quality. 

Height,  6  inches. 


161  —  Galipot. 


Clear  white  texture.  Covered  with  a  monochrome  glaze  of  coral  red  of  fine,  even 
texture.  Yung-cheng,  1723-1735. 


Height,  7  inches. 


162  —  Miniature  Fish  Bowl. 

Clear  white  porcelain  of  the  Yung-cheng  period  (1723-1735).  Covered  with  a  clair- 
de-lune  glaze  of  fine  texture.  Seal  mark  underneath  foot,  pencilled  in  blue. 
Carved  teakwood  stand. 

Height,  inches. 


163 — Oviform  Vase. 

Thick  texture.  Invested  with  a  flambe  glaze  of  red  and  purple. 

1795- 


Ch’ien-lung,  1736- 
Height,  7  inches. 


164  —  Bottle-shaped  Vase. 

Clear  white  porcelain  of  the  Yung-cheng  period  (1723—1735).  Floral  scrolls,  sceptre 
head,  and  leaf  borders  delicately  engraved  in  the  paste,  beneath  a  turquoise-blue 
glaze. 

Height,  8%  inches. 


165 —  Galipot. 

Thick  texture.  Covered  with  a  mottled  red  glaze  of  brilliant  quality.  Ch’ien-lung, 

I736— I795- 

Height,  7  inches. 


166  —  O  viform  Vase. 


Thin  texture. 

cheng, 


Enamelled  with  a  turquoise-blue  glaze 

1 7  23— 1 735- 


over  a  minute  crackle.  Yung- 
Ileight,  bl/z  inches. 


167  —  Bottle-shaped  Vase. 

Globular  body  with  tall,  slender  neck.  Crackled  texture,  which  is  covered  with  a 
caf'e-au-lait  glaze.  Lotus  flowers,  storks,  and  symbols  modelled  in  low  relief, 
and  enamelled  in  blue  and  white.  K’ang-hsi,  1662-1722. 


Height,  7  inches. 


168  —  Pear-shaped  Vase. 

Thin  texture  of  the  Yung-cheng  period  (1723—1735). 
glaze,  which  is  minutely  crackled. 


Covered  with  a  turquoise-blue 
Height,  9  inches. 


169  —  Ouadrilateral  Vase. 

With  rudimentary  elephant-head  handles  and  peach-shape  panels.  Heavy  crackle 
texture,  which  is  coated  with  a  mottled  red  running  glaze.  Ch’ien-lung, 
1736-1795. 

Height,  7l/z  inches. 


170  —  Pottle-shaped  Vase. 


Thin  porcelain.  Invested  with  a  pale  turquoise-blue  mottled  glaze.  Yung-cheng, 


I723_I735- 


Height,  9  inches. 


171  —  Pottle-shaped  Vase. 

Clear  white  porcelain  of  the  Yung-cheng  period  (1723-1735).  Invested  with  a 
brilliant  brown  glaze,  which  is  marked  with  metallic  spots.  Teakwood  stand. 

Height,  7l/i  inches. 


172  —  Oviform.  V ase. 

Clear  white  porcelain.  Covered  with  a  starch-blue  glaze  of  fine,  even  texture,  beneath 
which  is  pencilled,  in  a  darker  shade  of  blue,  chrysanthemum  flowers  and  an 
elaborate  scroll  design.  Yung-cheng,  1723—1735. 

Height,  7  '/l  inches. 


173  —  Double  Quadrilateral  Vase. 

With  rudimentary  elephant-head  handles.  Invested  with  brilliant  red  glaze. 

Height,  9  inches. 


174  —  Galipot. 


Thick  porcelain,  which  is  coated  with  a  red  and  purple  flambe 
1736—1795.  Teakwood  stand. 


glaze.  Ch’ien-lung, 
Height,  inches. 


175  —  Pottle-shaped  Vase. 


Thin 


texture.  Invested  with  a  fine  monochrome  glaze  of  camelia-leaf  green,  and 
crackled  throughout.  K’ang-hsi,  1662—1722. 

Height,  9  inches. 


176  —  Pottle-shaped  Vase. 

With  rudimentary  handles.  Thick  porcelain  of  the  Ch’ien-lung  period  (1736-1795). 
Covered  with  red  and  purple  splash  glaze.  Incised  seal  mark. 


Height,  9  inches. 


177  —  Flat  Oviform  Vase. 

Melon  design.  Vine  and  leaf  scrolls  carved  in  the  paste  beneath  a  rich  green  glaze. 
Chi’en-lung,  1736-1795. 

Height,  9  inches. 


178  —  Bottle-shaped  Vase. 


Thick  porcelain, 
purple. 


Covered  with  a  brilliant  red  glaze,  which  is  mottled  and  shaded  with 

Height,  10  inches. 


179  —  Apple-green  Oviform  Vase. 

Invested  with  an  iridescent,  translucent  enamel,  which  is  uniformly  crackled  with  a 
network  in  brown  lines.  K’ang  hsi,  1662-1722. 

Height,  5  inches. 


180  —  Bottle-shaped  Vase. 

Covered  with  red  and  purple  splash  glaze, 
and  neck. 


Dragon  modelled  in  relief  at  the  shoulder 

Height,  8  inches. 


181  —  Oviform  Vase. 

Thick  texture.  Invested  with  tea-dust  glaze  of  soft,  even  quality.  Ch’ien-lung, 

1736— x795- 

Height,  qyi  inches. 


182  —  Quadrilateral  Vase. 

With  rudimentary  elephant-head  handles.  Thick  crackle  texture,  which  is  invested 
with  a  flambe  glaze  of  red,  purple,  and  brown  enamels;  peach-shape  ornaments 
carved  in  the  paste  in  low  relief.  Ch’ien-lung,  1736-1795. 

Height,  8  inches. 


183  —  Bear-shaped  Vase. 

Enamelled  with  a  monochrome  glaze  of  apple-green.  Teakwood  stand. 

Height,  9  inches. 


184  —  Cylindrical  Vase. 

Glazed  in  imitation  of  agate, 
stand. 


Various  symbols  pencilled  in  pale  blue.  Teakwood 

Height,  9  inches. 


185  —  Bottle-shaped  Vase. 

With  rudimentary  handles.  Thick  porcelain  of  the  Ch’ien-lung  period  (1736-1795). 

Invested  with  a  brilliant  red  and  purple  splash  glaze.  Incised  seal  mark  under¬ 
neath  foot. 


Height,  8*4  inches. 


186  —  Melon-shaped  Vase. 

Thin  texture.  Monochrome  glaze  of  camelia-leaf  green,  minutely  crackled  throughout. 
Melon  vine  in  bearing,  and  butterflies  pencilled  in  a  darker  shade  of  green. 
Ch’ien-lung,  1736—1795. 

Height,  8}4  inches. 


187  —  Small  Galipot. 

Coarse  texture.  Invested  with  a  brilliant  red  glaze  splashed  with  purple, 
the  mouth  is  defined  by  a  line  of  brown  crackle. 


The  rim  of 


Height,  6  inches. 


188  —  Powder-blue  Club-shaped  Vase. 

Of  the  K’ang-hsi  period  (1662-1722). 
the  glaze. 


Decoration  of  flowers  and  birds  in  gold  over 

Height,  9 yz  inches. 


189  —  Flambe  Vase. 

Bottle  shaped,  with  rudimentary  handles  at  neck.  Of  thick  texture  and  invested  with  a 
red  and  purple  splash  glaze.  Incised  seal  mark  of  the  Ch’ien-lung  period  (1736— 
1 795)*  (Slight  repair.) 

Height,  8*4  inches. 

190 —  Triple  Gourd  Vase. 

Hard  paste  of  the  Yung-cheng  period  (1723-1735).  Invested  with  finely  crackled 
turquoise-blue  glaze  known  as  “fish-roe”  crackle.  (Repaired  at  neck.)  Teak- 
wood  stand. 

Height,  8*4  inches. 

191  —  Flambe  Vase. 

Ovoid  body,  with  tubular  neck  spreading  at  mouth.  Clear  texture  of  the  Ch’ien-lung 
period  (1736-1795).  Invested  with  a  purple  and  clair-de-lune  splash  glaze. 
Incised  seal  mark. 

Height,  8*4  inches. 


192  —  Celadon  Vase. 

Bottle  shaped,  with  a  bulging  body.  Ornamented  with  an  elaborate  design  of  scroll 
clouds  etched  in  the  paste,  and  the  whole  surface  invested  with  a  celadon  glaze 
of  typical  color.  Underneath,  double  ring  mark  of  the  K’ang-hsi  period  (1662- 
1722)  and  a  leaf  symbol  pencilled  in  blue. 

Height,  xo  inches. 


193  —  Iridescent  Iron-rust  Vase. 

Galipot  shaped.  Enamelled  with  a  dark  brown  monochrome  glaze,  thickly  speckled 
with  minute  points  of  deep  metallic  lustrous  aspect.  K’ang-hsi,  1662—1722. 

Height,  9  *4  inches. 


194 — Oviform  Vase. 

Of  the  K’ang-hsi  period  (1662-1722).  Covered  with  a  brilliant  monochrome  glaze  of 
camelia-leaf  green  minutely  crackled  throughout.  The  foot  is  enamelled  under¬ 
neath  with  the  same  glaze,  which  is  also  partially  spread  inside  the  mouth. 
Teakwood  stand. 

Height,  g]4.  inches. 


195  —  Oviform  Vase. 

Coarse  texture  of  the  Ch’ien-lung  period  (1736-1795).  Invested  with  a  brilliant  red 
glaze  with  faint  splashes  of  purple.  Mounted  in  gilt  brass. 

Height,  10  inches. 


196  —  Oviform  Vase. 

Companion  to  the  preceding. 


Height,  10  inches. 


197  —  Pilgrim- bottle  Vase. 

Covered  with  a  finely  crackled  turquoise-blue  glaze,  which  varies  in  soft  translucent 
tints,  according  to  its  depth.  Yung-cheng,  1723-1735. 

Height,  inches. 


198  —  Bottle-shaped,  Vase. 


With  rudimentary  handles.  Thick  texture  of  the  Ch’ien-lung  period  (1736-1795). 
Invested  with  flambe  glaze  of  red  and  purple  tints.  Incised  seal  mark. 

Height,  8^  inches. 


199  —  Vase. 


Globular  body  with  cylindrical  neck.  Covered  with  an  iridescent  monochrome  glaze  of 
camelia-leaf  green  of  uniform  tint  and  fine  quality  ;  minutely  crackled.  K’ang- 
hsi,  1662-1722. 

Height,  g}4  inches. 


200  —  Bottle-shaped  Vase. 

Clear  white  texture.  Invested  with  a  pale  celadon  glaze.  A  dragon  encircles  the 
tubular  neck,  modelled  in  relief  and  glazed  in  peach-bloom  tint,  and  round  the 
body  are  cloud  forms,  dragon,  and  symbols  etched  in  the  paste.  K’ang-hsi, 
1662-1722. 

Height,  inches. 


201  —  Flambe  Globular  Jar. 


Dense  texture.  Invested  with  a  splash  glaze  of  various  tints  of  red,  purple,  and  brown. 
K’ang-hsi,  1662-1722.  Gilt  metal  collar. 


Height,  6  inches. 


202  —  Bowl. 


Of  the  Yung-cheng  period  (1723-1735).  Outside  covered  with  a  deep  monochrome 
glaze  of  a  coral-red  tint.  Underneath,  seal  mark  and  double  ring  pencilled  in 
blue. 


Diameter,  8  inches. 


203 — Circular  Dish. 


Thick 


texture.  Invested  with  a  deep  mazarin-blue  glaze,  thickening  in  centre  and 
underneath.  Teakwood  stand. 

Diameter,  8  inches. 


204  —  Ch  ’ ien-lung  Plate. 

Covered  with  a  monochrome  glaze  of  rose  tint.  (Repaired.) 


Diameter,  8  inches. 


205  —  Ovifonn  Vase. 

Thin  texture  of  the  Ch’ien-lung  period  (1736-1795).  Invested  with  a  pale  pink  souffle 
glaze.  Symbolical  bat  and  cloud  forms  pencilled  in  a  darker  shade. 

Height,  8y£  inches. 


200  —  Oviform  Vase. 

With  spreading  neck  and  rudimentary  stork-head  handles.  Invested  with  finely  crackled 
turquoise-blue  glaze,  which  extends  over  the  rim  inside  the  mouth,  and  over 
which  are  pronounced  metallic  streaks.  Yung-cheng,  1723—1735. 

Height,  11  inches. 


207  —  Club-shaped.  Vase. 

Of  good  form  and  finished  technique.  Enamelled  with  the  red  glaze  of  the  Lang- 
Yao  of  the  reign  of  K’ang-hsi  (1662—1722).  The  surface  of  the  glaze 
exhibits  a  superficial  network  of  crackle  lines  and  reflects  the  tints  of  sang-de- 
bceuf. 

Height,  9%,  inches. 


208  —  Melon-shaped  Vase. 

Modelled  in  form  of  an  ordinary  melon,  with  vertical  grooves,  and  coated  with  a 
monochrome  glaze  of  emerald  green  of  iridescent  texture,  and  minutely  crackled 
throughout.  K’ang-hsi,  1662-1722. 

Height,  9  inches. 


209  —  Galipot. 


Coarse  texture  of  the  Ch’ien-lung  period  (1736—1795). 
glaze  of  brilliant  red. 


Invested  with  a  monochrome 
Height,  10  inches. 


210  —  Flat  Oviform  Vase. 

With  rudimentary  elephant-head  handles.  Dense  texture  of  the  K’ang-hsi  period 
(1662—1722).  Coated  with  a  thick  monochrome  glaze  of  tea-dust  color. 
Incised  seal  mark. 


Height,  11  inches. 


211  —  Ouadrilateral  Vase. 

With  raised  rim  and  corner  ornaments.  Coated  with  a  deep  violet  and  pale  turquoise- 
blue  glaze,  which  is  minutely  crackled  throughout,  and  flecked  with  metallic 
spots.  K’ang-hsi,  1662-1722. 

Height,  10^  inches. 


212  —  Beaker  Vase. 


Thick  texture.  Invested  with  a  mustard-yellow  glaze, 
throughout.  Teakwood  stand. 


which  is  minutely  crackled 


Height,  11%  inches. 


213  —  Flambe  Vase. 

Hexagonal  bottle  shaped,  with  tubes  at  neck  for  hanging.  Dense  crackled  texture, 
which  is  invested  with  a  variegated  splash  glaze  of  red,  purple,  and  green  tints. 
Ch’ien-lung,  1736-1795. 

Height,  11%  inches. 


214 — Ouadrilateral  Vase. 

iV 


Coated  with  a  monochrome  glaze  of  camelia-leaf  green  of  perfect  purity,  and  minutely 
crackled  throughout.  K’ang-hsi,  1662—1722. 


Height,  12  inches. 


215 — Oviform  Vlamb'e  Vase. 

Fashioned  after  a  lily,  and  with  chimera-head  and  ring  handles.  Of  thick  crackled 
texture,  which  is  invested  with  red  and  purple  splash  glaze.  Ch’ien-lung, 
I  736— 1 795- 

Height,  13  inches. 


216  —  Pear-shaped  Vase. 

Of  the  Ch’ien-lung  period  (1736-1795).  Coated  with  a  monochrome  glaze  of  tea 
color  of  soft,  even  quality. 

Height,  11  inches. 

217  —  Bottle-shaped  Vase. 

Globular  body  with  tall,  cylindrical  neck.  Of  thick  texture,  and  enamelled  with  a 
brilliant  ruby-red  glaze.  K’ang-hsi,  1662—1722. 

Height,  12  inches. 


218  —  Bottle-shaped  Vase. 

Thin  texture  of  the  Tao-kuang  period  (1821-1850).  Invested  with  a  monochrome 
glaze  of  imperial  yellow,  underneath  which  are  dragons  amid  cloud  forms  and 
fire  emblems  etched  in  the  paste. 

Height,  12  inches. 


219  —  Bottle-shaped  Vase. 

Of  the  Yung-cheng  period  (1723-1735).  Globular  body  with  tall,  tubular  neck. 
Enamelled  with  a  rich  translucent  glaze  of  turquoise  tint,  which  is  minutely 
crackled  throughout  with  a  network  of  defined  lines.  Teakwood  stand. 

Height,  13  inches. 


220  —  Quadrilateral  Vase. 

With  chimera-head  handles.  Of  dense  crackled  texture,  which  is  coated  with  a  flambe 
glaze  of  brilliant  red  and  purple  tints.  Ch’ien-lung,  1736—1795-  Carved 
teakwood  stand. 

Height,  12  inches. 


221  —  Pear-shaped  Vase. 

Dense  texture  of  the  Ch’ien-lung  period  (1736-1795),  and  invested  with  a  brilliant  red 
and  purple  splash  glaze. 


Height,  14  inches. 


222  —  Oviform  Vase. 

Clear  white  porcelain  of  the  Yung-cheng  period  (1723—1735).  Covered  with  a  bril¬ 
liant  turquoise-blue  glaze  of  fine  texture,  and  minutely  crackled  throughout. 
Carved  teakwood  stand. 

Height,  10  inches. 


223  —  Fla??ibe  Jar. 

Globular  form  with  wide  mouth.  Coarse  crackled  texture  of  the  Ch’ien-lung  period 
(1736-1795),  and  coated  with  a  dark  red  and  purple  splash  glaze,  which  also 
spreads  inside  the  mouth.  Teakwood  stand. 

Height,  9  inches. 


224  —  Bottle-shaped  Vase. 

Of  graceful  form  and  fine  texture  of  the  Ch’ien-lung  period  (1736—1795).  Invested 
with  a  tea-color  glaze  of  perfect  purity.  Incised  seal  mark  underneath. 

Height,  14  inches. 

225  —  Flambe  Jar. 

Globular  body  with  spreading  neck.  Thick  texture  of  the  Ch’ien-lung  period  ( 1 736— 
1795),  and  enamelled  with  a  red  and  purple  splash  glaze  with  well  defined 
crackle.  Teakwood  stand. 

Height,  11  inches. 

226  —  Brilliant  Turquoise-blue  Vase. 

Graceful  oviform  shape,  with  cylindrical  neck  spreading  at  the  mouth.  Of  thin  texture 
of  the  Yung-cheng  period  (1723—1735),  which  is  invested  with  a  finely  crackled 
turquoise-blue  glaze,  known  as  “fish-roe”  crackle,  which  extends  over  the  rim, 
inside  the  mouth.  The  foot  underneath  is  unglazed,  and  shows  a  buff-colored 
paste. 

Height,  15  inches. 

227  —  Bottle-shaped  Vase. 

Dense  texture  of  the  Ch’ien-lung  period  (1736-1795),  and  enamelled  with  a  dark 
coffee-colored  souffle  glaze  of  fine  quality  and  brilliant  iridescence.  Inscription 
in  black,  and  incised  seal  mark  underneath  the  foot. 


Height,  13  inches. 


228  —  Flambe  Vase. 


Graceful  oviform,  with  cylindrical  neck  spreading  at  the  mouth.  Crackled  texture,  with 
decoration  of  dragons  and  symbols  in  bleu-de-Nankin  on  a  white  ground,  over 
which  is  a  splash  or  flambe  glaze  of  dark  brown,  red,  and  purple  tints.  K’ang- 
hsi,  1662-1722. 

Height,  16  inches. 


229  —  Brilliant  Flambe  Vase. 

Graceful  pear  shaped.  Dense  texture  of  the  Ch’ien-lung  period  (1736-1795),  coated 
with  a  brilliant  red  and  purple  splash  glaze.  Teakwood  stand. 

Height,  13^  inches. 


230  —  Oviform  Vase. 

With  low  cylindrical  neck  spreading  at  the  mouth.  Covered  with  a  monochrome  glaze 
of  camelia-leaf  green  of  fine  quality,  and  minutely  crackled  throughout. 
K’ang-hsi,  1662-1722. 

Height,  14  inches. 


231 — Bottle-shaped  Vase. 

Thin  texture  of  the  K’ang-hsi  period  (1662—1722),  and  invested  with  a  glaze  of 
brownish  yellow,  mottled  with  clouds  of  darker  brown  and  olive  green.  Teak- 
wood  stand. 

Height,  i2'/2  inches. 


232  —  Graceful  Bottle-shaped  Vase. 

Thick  white  porcelain  of  the  Ch’ien-lung  period  (1736—1795),  with  rudimentary  ele¬ 
phant-head  handles,  and  a  decoration  of  leaf  bands  and  ornamental  borders, 
worked  in  slight  relief  in  the  paste,  under  a  monochrome  glaze  of  brilliant  red ; 
the  rim  of  the  lip  showing  streaks  of  purple  tint. 

Height,  12^  inches. 


233 — Turquoise-blue  Jar. 

Thick  texture  of  the  Ch’ien-lung  period  (1736-1795).  Decoration  of  floral  scrolls 
and  palm  leaf,  key  pattern  and  sceptre-head  bands  and  borders,  worked  in 
slight  relief  in  the  paste,  beneath  a  minutely  crackled  turquoise-blue  glaze, 
which  is  mottled  with  a  deep  violet. 

Height,  10  inches. 


234  —  Bottle-shaped  Vase. 

Globular  body  with  slender,  tubular  neck.  Thick  porcelain  of  the  Ch’ien-lung  period 
(1736—1795),  coated  with  a  flambe  glaze  of  fine  texture  of  red  and  purple  tints. 
Teakwood  stand. 


Height,  13  y2  inches. 


235  —  Turquoise-blue  Oviform  Jar . 

With  rudimentary  elephant-head  handles.  Sonorous  porcelain  of  the  Yung-cheng  period 
(1723—1735),  and  invested  with  a  finely  crackled  glaze  of  mottled  tones  of  the 
purest  turquoise  tint.  Teakwood  stand. 

Height,  13  inches. 

236  —  Iridescent  Iron-rust  Vase. 

Globular  body  with  tall,  tubular  neck  and  sonorous  texture.  Enamelled  with  a  dark 
brown  monochrome  glaze,  thickly  speckled  with  minute  points  of  metallic  lustrous 
aspect.  K’ang-hsi,  1662—1722. 

Height,  16  inches. 

237  —  Flambe  Bottle-shaped  Vase. 

Thick,  crackled  texture  of  the  Ch’ien-lung  period  (1736-1795),  and  coated  with  a 
flambe  or  splash  glaze  of  brilliant  red,  purple,  and  clair-de-lune  tints.  Incised 
seal  mark  underneath  the  foot,  which  is  invested  with  a  brown  mottled  glaze. 

Height,  15^  inches. 

238  —  O  v  for m  J ar. 

Modelled  after  an  ancient  bronze.  Covered  with  a  monochrome  glaze  of  intense  and  rich 
sapphire  blue.  The  decoration,  which  is  boldly  worked  in  the  paste,  in  relief, 
under  the  glaze,  consists  of  a  five-clawed  dragon,  phoenix,  the  pearl  of  omnipo¬ 
tence,  and  numerous  cloud  forms.  Ch’ien-lung,  1736—1795. 

Height,  13  inches. 

239  —  Large  Galipot. 

Fine  texture  of  the  Ch’ien-lung  period  (1736—1795),  which  is  invested  with  a  mottled 
and  streaked  red  glaze  of  brilliant  quality,  with  purple  tints  at  neck.  Incised  seal 
mark  underneath  the  foot,  which  is  coated  with  a  mottled  brown  glaze. 

Height,  X4j^  inches. 

240  —  Brilliant  Flambe  Vase. 

Globular  body  with  tall,  cylindrical  neck.  Crackled  texture  of  the  Ch’ien-lung  period 
(1736—1795),  and  enamelled  with  a  red  and  purple  splash  glaze. 

Height,  17  inches. 

241  —  Bottle-shaped  Vase. 

Fine  sonorous  porcelain  of  the  Ch’ien-lung  period  (1736—1795),  invested  with  a  mono¬ 
chrome  glaze  of  pale  tea-color  of  perfect  purity.  Incised  seal  mark  underneath 
the  foot. 

Height,  14  inches. 

242  —  Graceful  Bottle-shaped  Vase. 

Globular  body  with  tall,  slender,  tubular  neck.  Invested  with  a  rich  translucent  glaze 
of  starch  blue,  which  is  applied  so  as  to  leave  a  well  defined  white  rim  round  the 
mouth,  and  over  a  pronounced  crackled  surface  marked  by  brown  lines.  K’ang- 
hsi,  1662-1722. 


Height,  16^4  inches. 


243  —  Flambe  Bottle-shaped  Vase. 

Globular  body  with  tall,  cylindrical  neck.  Dense  crackled  texture  of  the  Ch’ien-lung 
period  (1736-1795),  and  coated  with  a  red  and  purple  flambe  glaze  of  iridescent 
quality. 

Height,  14  inches. 


244  —  Bottle-shaped  Vase. 

Of  graceful  form.  Clear  white  porcelain,  invested  with  a  mottled  cobalt  glaze  of  fine 
texture,  known  as  “powder  blue”  or  “  mazarin  blue.”  The  foot  underneath 
is  glazed  in  white,  and  a  well  defined  white  rim  is  round  the  mouth.  Yung- 
cheng,  1723—1735.  Teakwood  stand. 

Height,  17  inches. 


245- — Sang-de-boeuf  Oviform  Vase. 

Of  the  celebrated  Lang-Yao  of  the  reign  of  K’ang-hsi  (1662—1722),  covered  with  the 
characteristic  monochrome  glaze  of  sang-de-boeuf.  The  vase  is  pale  green 
towards  the  mouth,  where  a  network  of  crackle  is  clearly  visible  ;  red  on  the 
body,  where  the  glaze  runs  down  towards  the  foot  in  richly  mottled  streaks  ;  and 
of  dark  sanguineous  tint  on  the  shoulder,  where  the  glaze  is  thickest;  at  the 
bottom  it  has  “run  ”  and  congealed.  The  rim  round  the  mouth  is  defined  by 
a  line  of  pale  brown,  and  the  mouth  is  covered  inside  with  a  pale  celadon  glaze 
crackled  with  brown  lines.  The  base  is  covered  underneath  with  a  brown 
crackled  soft  glaze.  Teakwood  stand. 

Height,  11%,  inches. 


24G  —  Lang-  Yao  Sang-de-boeuf  V ase. 

Bottle  shaped.  Invested  with  a  glaze  which  displays  all  the  rich  sang-de-bceuf  tones. 
The  foot  underneath  is  covered  with  a  gray  rice-colored  glaze.  The  neck  has 
been  ground  down  and  capped  with  metal.  K’ang-hsi,  1662-1722.  Carved 
teakwood  stand. 

Height,  11  inches. 


247  —  Oviform  Vase. 

With  spreading  moutli.  Thin  porcelain  of  the  Yung-cheng  period  (1723-1735),  and 
enamelled  with  a  translucent  glaze  of  peacock  green  mottled  with  sapphire  blue, 
which  varies  in  tone  according  to  the  depth,  and  extends  over  the  rim,  inside  the 
mouth.  Crackled  throughout  with  a  network  of  well  defined  lines  representing 
“fish-roe”  crackle.  Teakwood  stand. 

Height,  14  inches. 


248  —  Large  Pear-shaped  Vase. 

Thick  porcelain  of  the  Ch’ien-lung  period  (1736-1795),  and  enamelled  with  a  brilliant 
glaze  of  the  characteristic  sang-de-boeuf  type  over  a  crackled  ground.  7  he 
mouth  is  covered  inside  with  rice-colored  crackled  glaze,  and  the  same  glaze 
covers  the  base  underneath. 


Height,  17  inches. 


249  —  Turquoise-blue  Vase. 

Of  graceful  cylindrical  form,  and  fine  texture  of  the  K’ang-hsi  period  (1662—1722). 
The  surface  is  covered  with  etched  designs,  consisting  of  a  group  of  lions  sporting 
with  brocade  balls  tied  with  waving  fillets,  and  invested  with  a  minutely  crackled 
glaze  of  pure  turquoise  tint;  and  numerous  cloud  forms  are  in  dark  blue.  Band 
of  sceptre-head  design  round  base.  Foot  underneath  coated  with  a  deep  violet 
glaze.  Teakwood  stand. 

Height,  19  inches. 


250  —  Bottle-shaped  Vase. 

Crackle  texture  of  K’ang-hsi  (1662—1722).  Decorated  with  a  bold  dragon  in  bleu-de- 
Nank'in ,  and  coated  with  a  flambe  glaze  of  sang-de-boeuf  \  olive  green,  purple,  and 
other  tints. 

Height,  17  yz  inches. 


251  —  Decorated  Turquoise-blue  Vase. 

Oviform,  with  tubular  neck,  which  is  capped  by  a  scalloped  collar  worked  out  in  the 
paste.  Covered  with  a  monochrome  glaze  of  brilliant  turquoise  tint,  which  is 
minutely  crackled  throughout.  The  decoration,  which  is  etched  in  the  paste, 
consists  of  elaborate  conventional  scrolls  of  peonies  round  the  body  and  neck, 
with  a  band  of  gadroons  below.  The  foot  is  enamelled  underneath  with  the 
same  glaze  as  the  vase.  K’ang-hsi,  1662-1722. 

Height,  25  inches. 

252  —  Flambe  Bottle-shaped  Vase. 

Globular  body  with  tall,  tubular  neck.  Crackled  texture  of  the  Yung-cheng  period 
(1723-1735),  which  is  enamelled  with  a  “strawberry”  splash  glaze.  Teakwood 
stand. 

Height,  16  inches. 

253  —  Large  Vase. 

Globular  body  with  cylindrical  neck.  Invested  with  a  dark  green  celadon  glaze,  applied 
over  a  pronounced  brown  crackled  surface.  K’ang-hsi,  1662-1722. 

Height,  18  inches. 

254 — Tall  Hexagonal  Vase. 

Of  graceful  form  and  finished  technique.  Sonorous  porcelain  of  the  Ch’ien-lung  period 
(1736-1795).  Invested  with  a  monochrome  glaze  of  powdered-tea  color  of 
uniform  tint  and  very  fine  quality.  The  foot  underneath  is  coated  with  the 
same  glaze,  and  has  an  impressed  seal  mark.  Finely  carved  teakwood  stand. 

Height,  28  inches. 

255  —  Large  Bottle-shaped  Vase. 

Globular  body  with  tall,  cylindrical  neck.  Thick  porcelain  of  the  Ch’ien-lung  period 
(1736—1795),  and  covered  with  a  glaze  of  pale  sea-green  tone.  The  decoration 
in  relief  modelling,  fashioned  after  an  ancient  bronze,  consists  of  bands  of  archaic 
design  and  borders  of  sceptre  heads  and  gadroons.  Underneath  foot,  seal  mark 
pencilled  in  blue.  Carved  teakwood  stand. 


Height,  25  inches. 


SECOND  AFTERNOON'S  SALE 


Monday,  January  26th,  1903 


BEGINNING  PROMPTLY  AT  3  O’CLOCK 


25G —  Cup  and  Saucer. 

Lotus  design.  Old  Chinese  hard  paste.  Decoration  of  miniature  figures  and  floral 
festoons. 


257  —  Covered  Pitcher . 

Hard  paste  of  the  Ch’ien-lung  period  (1736—1795).  Decoration  of  foliage  and  land¬ 
scape  in  various  enamels. 

258  —  Miniature  Vase. 

Oviform.  Covered  with  a  monochrome  glaze  of  camelia-leaf  green,  minutely 
crackled. 

259  —  Miniature  Bottle-shaped  Vase. 

Coated  with  a  thick  mottled  glaze. 

2G0 — Cup  and  Saucer. 

Pekin  enamel.  Decoration  of  floral  scrolls  and  medallions,  on  pink  ground. 


2G1  —  Porcelain  Bowl. 

Leaf  patterns  modelled  in  low  relief  in  the  paste.  Brilliant  emerald-green  glaze. 

2G2  —  Bowl. 

Clear  white  porcelain  of  the  Ch’ien-lung  period  (1736-1795).  Outside  covered  with 
robin’s-egg  souffle  glaze.  Seal  mark  in  coral  red. 


2G3 —  Incense  Bowl. 


Outside  covered  with  orange-yellow  glaze.  Decoration  of  dragon  chasing  the  pearl  of 
omnipotence  etched  in  the  paste  and  enamelled  in  emerald  green.  Incised  four- 
character  mark.  Wan-li,  1573—1619. 

Height,  3  inches. 


264 —  Teapot. 


Hard  paste.  Decoration  illustrating  the  dragon  festival  in  green,  red,  and  yellow 
enamels. 


265 — Tea  Caddy. 


Old  Canton.  Decoration  of  baskets  of  flowers  in  arabesques,  in  coral-red,  gold,  and 
other  enamels. 


266 — Small  Tray. 

Lotus-leaf  shaped.  Old  Chinese  porcelain,  coated  with  green  glaze. 

267  —  Tea  Bowl. 

Brown  crackle  texture.  Dragons,  fire  emblems,  and  sacred  pearls  in  bleu-de-Nankin. 


268 —  Two  Bowls. 

Leaf  design.  Coated  with  a  monochrome  glaze  of  brilliant  emerald  green. 

269  —  Teapot. 

Famille  rose.  Floral  medallions  and  scrolls. 


270  —  Lotus -leaf  Tray. 


Invested  with  a  monochrome  glaze  of  leaf  green. 


271 —  Covered  Bowl. 

Pure  white  semi-eggshell  texture.  Decoration  of  mandarin  figures,  birds,  and  flowers, 
in  fine  enamels  and  gold. 

272 —  Two  Tea  Bowls. 

Brown  crackle  texture.  Decoration  of  dragons,  fire  emblems,  and  the  sacred  pearl  in 

bleu-de-Nankin. 


273 —  Teapot . 


Old  Canton.  Decoration  of  mandarin  figures,  garden  scenes,  and  medallions  in  various 
enamels  enriched  with  gold. 


274  —  Small  Covered  Pitcher. 

Old  Canton.  To  match  the  preceding. 

275 — Targe  Bowl. 

Thick  porcelain  of  the  Hsien-feng  period  (1851-1861).  Outside  decoration  of  floral 
sprays,  scrolls,  plum  blossoms,  pine  tree,  bamboo,  and  storks  on  alternate  stripes 
of  salmon,  yellow,  and  pale  blue.  Inside  coated  with  turquoise-blue  glaze. 

Diameter,  7  inches. 


276  —  Celadon  Fire  Bowl. 

Globular  shape.  Thick  porcelain  of  the  Ch’ien-lung  period  (1736—1795).  Decoration 
of  floral  scrolls  and  a  band  of  gadroons  worked  in  the  paste,  in  slight  relief, 
beneath  a  pale  green  translucent  glaze. 

Diameter,  4  inches. 


277  —  Miniature  Vase. 

Thin  porcelain  of  the  Ch’ien-lung  period  (1736-1795).  Covered  with  a  monochrome 
glaze  of  orange  yellow. 


278  —  S?nall  Bottle-shaped  Vase. 

Crackle  texture.  Invested  with  a  monochrome  glaze  of  apple  green. 

279  —  Pih-tong. 

Thick  porcelain.  The  decoration,  which  is  carved  in  low  relief,  consists  of  landscape 
and  water  scene,  and  is  coated  with  an  olive-green  enamel.  Incised  four-charac¬ 
ter  mark  underneath  the  foot. 

Height,  S]4.  inches. 


280  —  Bottle-shaped  Vase. 

Coarse  texture  of  the  Ch’ien-lung  period  (1736-1795).  Covered  with  a  brilliant  mot¬ 
tled  red  glaze,  over  which  is  a  decoration  of  floral  medallions  in  enamels  and 
gold.  European  mountings  in  gilded  brass. 

Height,  10  inches. 


281  —  Oviform  Vase. 

Clear  white  porcelain,  K’ang-hsi  period  (1662-1722).  Coated  with  a  brilliant  powder- 
blue  glaze.  Decoration  in  four  panels. 


Height,  9  Yz  inches. 


282  —  Pilgrim-bottle  Vase. 

With  rudimentary  dragon  handles.  Thick  porcelain  of  the  Ch’ien-lung  period  (1736- 
1795).  Coated  with  a  mottled  red  glaze,  partially  covering  the  outside  surface, 
underneath  which  is  a  pale  green  glaze  with  a  pronounced  crackle. 

Height,  inches. 


283  —  Large  Bowl. 

Thin  texture  of  the  K’ang-hsi  period  (1662—1722).  Decoration  of  conventional 
dragons  and  floral  scrolls  in  green,  yellow,  and  red  enamels. 

Diameter,  8  inches. 


284  —  Pair  Vases. 


Flat  oviform.  Thick  porcelain  of  the  Ch’ien-lung  period  (1736—1795).  Decoration 
in  black  outline,  touched  with  salmon  pink,  consists  of  figures  of  priests  and 
philosophers,  and  sprays  of  flowers.  Mark  underneath  foot,  symbol  of  lon¬ 
gevity. 

Height,  10  inches. 


285  —  Plate. 

Semi-eggshell  porcelain  of  the  K’ang-hsi  period  (1662-1722).  Decoration  of  interior 
view  with  mandarin  figures,  garden  scene,  and  medallion  borders,  in  various 
enamels  enriched  with  gold. 

Diameter,  8  inches. 


286  —  Tea  Bowl. 


Semi-eggshell  porcelain.  To  match  the  preceding. 


287  —  Cups  and  Saucers. 

Decoration  of  mandarin  figures  and  other  designs  in  harmony  with  the  preceding  bowl. 

7  pieces. 

288  —  Galipot. 

Coarse  texture  of  the  Ch’ien-lung  period  (1736-1795).  Invested  with  a  gray  crackled 
glaze  which  has  a  slight  red  and  purple  mottling. 

Height,  8)4  inches. 


289  —  Ouadrilateral  Flambe  Vase. 

Thick  porcelain  of  the  Ch’ien-lung  period  (1736-1795).  Coated  with  a  brilliant  red 
and  purple  splash  glaze,  with  the  corners  and  rim  of  mouth  uncovered  by 
enamel;  uniformly  crackled  throughout. 

Height,  11  inches. 


290  —  Bottle-shaped  Vase. 

Globular  body  with  tall,  tubular  neck.  Thin  porcelain  of  the  Yung-cheng  period 
(r 723— 1735).  Covered  with  a  monochrome  glaze  of  an  intense  and  rich  sap¬ 
phire  blue. 


Height,  12  inches. 


291 — Pear-shaped.  Vase. 

Of  graceful  form.  Dense  porcelain  of  the  Ch’ien-lung  period  (1736-1795),  which  is 
coated  with  a  flambe  or  splash  glaze  of  red  and  purple  tints. 

Height,  13  inches. 


292  —  Bottle-shaped  Vase. 


Thick  texture  of  the  Ch’ien-lung  period  (1736-1795),  and  enamelled  with  a  mottled 
red  glaze,  with  faint  purple  tints  round  the  mouth. 


Height,  12  inches. 


293  —  Pear-shaped  Vase. 

Thick  porcelain  of  the  Ch’ien-lung  period  (1736—1795),  which  is  invested  with  a 
monochrome  glaze  of  deep  red  of  sang-de-bceuf  type.  Mounted  in  gilded 
brass.  (Repaired  at  lip.) 

Height,  ny£  inches. 


294  —  Bottle-shaped  Vase. 

Thin  porcelain  of  the  Ch’ien-lung  period  (1736-1795). 
cobalt-blue  glaze. 


Covered  with  monochrome 
Height,  12  inches. 


295  —  Bottle-shaped  Vase. 


Of  graceful  form.  Coated  with  a  mottled  red  and  purple  splash  glaze  of  brilliant 
quality.  Ch’ien-lung,  1736-1795. 


Height,  16  inches. 


296  —  Bottle-s naped  Vase. 

Oviform  body  with  tall,  tubular  neck  spreading  at  mouth.  Invested  with  a  turquoise- 
blue  enamel  of  finely  crackled  texture  and  mottled  greenish  tone,  the  typical 
“peacock  green”  of  the  Chinese.  K’ang-hsi,  1662-1722.  Carved  teak- 
wood  stand. 

Height,  12  inches. 


297 


Flambe  Bottle-shaped  V ase. 


With  ribbed  body  and  neck.  Dense  texture  of  the  Ch’ien-lung  period  (1736-1795), 
and  covered  with  a  mottled  red  and  purple  glaze. 


Height,  14  inches. 


298  —  Tall  Bottle-shaped  Vase. 

Ovoid  body  with  slender  cylindrical  neck.  Enamelled  with  a  brilliant  flambe  glaze  of 
red  and  purple  tone.  Incised  seal  mark  of  Ch  ien-lung  period  ( 1 7 3 6  1 795) 
underneath  the  foot,  which  is  coated  with  a  mottled  brown  glaze. 

Height,  19  inches. 


299  —  Vase . 


Graceful  form,  with  flaring  mouth.  Thin  white  texture  of  the  Yung-cheng  period 
(1723—1735).  Enamelled  with  a  brilliant  turquoise-blue  glaze  of  fine  quality, 
which  extends  over  the  rim,  inside  the  mouth,  and  invests  the  base  of  the  foot, 
with  the  exception  of  the  circular  rim,  which  is  partially  unglazed  and  shows  the 
texture  of  the  paste.  Carved  teakwood  stand. 

Height,  9  inches. 


300  —  Graceful  Bottle-shaped.  Vase. 

Tall  oviform  with  slender,  tubular  neck.  Dense  texture  of  the  Ch’ien-lung  period 
(1736-1795).  Invested  with  a  brilliant  splash  glaze  of  mottled  red  and  purple. 

Height,  20  inches. 


301  —  Brilliant  Flambe  Jar. 

Oviform,  with  rudimentary  elephant-head  handles.  The  body  is  carved  in  bamboo 
design,  slightly  decorated  in  blue-de-Nankin ,  and  invested  with  splashes  of  varied 
tints,  passing  from  brown  and  purple  to  intermediate  shades  of  crimson,  where 
the  glaze  is  thickest.  K’ang-hsi,  1662—1722. 

Height,  11  inches. 


302  —  Turquoise-blue  Bottle-shaped  Vase. 

Thin  porcelain  of  the  Yung-cheng  period  (1723—1735).  Covered  with  a  rich  mono¬ 
chrome  glaze  of  turquoise  of  the  “peacock-green”  tint,  which  is  minutely 
crackled  throughout. 

Height,  15  inches. 


303  —  Bottle-shaped  Vase. 

Globular  body  with  tubular  neck.  Crackled  texture  of  the  Yung-cheng  period  (1723- 
1735).  Enamelled  with  a  brilliant  flambe  glaze  of  brown,  purple,  and  crimson 
tints.  Carved  teakwood  stand. 

Height,  16  inches. 


304 — Turquoise-blue  Bottle-shaped  Vase. 

With  tall  cylindrical  neck.  The  glaze  is  of  pale  turquoise-blue  tint  of  rich  trans- 
lucence,  minutely  crackled,  representing  “fish-roe”  crackle.  Ch’ien-lung, 
1736-1795- 

Height,  16  inches. 


305  —  Flambe  Bottle-shaped  Vase. 

Brown  crackled  texture  of  the  Yung-cheng  period  (1723-1735).  Enamelled  with 
“strawberry  ”  splash  glaze  of  crimson,  purple,  and  olive-brown  tints.  Carved 
teakwood  stand. 


Height,  16  inches. 


305 


180 


301 


AWElson  &  Co.,Bcston 

163  228 


306  —  Large  Plate. 

Sonorous  porcelain  of  the  Yung-cheng  period  (1723-1735).  Invested  with  a  fine 
monochrome  glaze  of  imperial  yellow  over  a  decoration  of  dragons,  fire  emblems, 
and  the  sacred  pearl.  Border  of  floral  sprays,  which  is  etched  in  the  paste  un¬ 
derneath.  Six-character  mark,  within  a  double  ring,  pencilled  in  blue.  Carved 
teakwood  stand. 

Height,  12  inches. 


307  —  Large  Bowl. 

Thick  white  texture.  Outside  enamelled  with  a  brilliant  red  glaze,  which  thickens  at 
rim  and  foot.  Inside  decorated  in  bleu-de-N ankin ,  with  bold  dragons,  amid  cloud 
forms  and  fire  emblems,  chasing  the  pearl  of  omnipotence.  Four-character 
mark  of  Cheng-hua  (1465-1487). 

Diameter,  16  inches. 


308  —  Elambe  Bottle-shaped  Vase. 

Globular  body  with  flaring  base  and  mouth.  Thick  porcelain  of  the  Yung-cheng 
period  (1723-1735),  and  invested  with  a  brilliant  flambe  glaze  of  varied  tints. 
Carved  teakwood  stand. 

Height,  15  inches. 


309  —  Graceful  Bottle-shaped  Vase. 

Sonorous  porcelain  of  the  Ch’ien-lung  period  (1736-1795).  Enamelled  with  a  minutely 
crackled  turquoise-blue  glaze  over  an  elaborate  floral  and  scroll  decoration  etched 
in  the  paste. 

Height,  18  }4  inches. 


310 — Lacework  Bowl. 

Semi-eggshell  porcelain,  pierced  floral  design,  representing  conventional  peonies  amidst 
leafy  scrolls,  which  is  filled  in  with  glaze  so  as  to  form  a  delicate  “rice-grain  ” 
transparency,  and  giving  the  effect  of  lacework.  Ch’ien-lung,  1736—1795. 
Seal  mark  pencilled  in  blue. 

Diameter,  5  inches. 


311  —  Bose-back  Eggshell  Plate. 

Enamelled  on  the  back,  round  the  border,  with  a  deep  rose  ground,  and  on  the  front  is  a 
decoration  in  enamels  and  gilding.  The  field  is  filled  with  a  basket  of  flowers 
and  a  dish  of  fruits,  and  this  is  framed  by  encircling  bands  and  borders  of  ara¬ 
besques,  diaper  and  scroll  ornaments,  all  painted  in  delicate  enamels. 

Diameter,  b]4.  inches. 


312  —  Decorated  Plate. 

Clear  white  porcelain  of  the  Yung-cheng  period  (1723-1735).  Sprays  of  peony  and 
branches  of  prunus  blossoms  in  red,  green,  yellow,  and  other  enamels. 

Diameter,  8)4  inches. 


313  —  Bowl. 

Of  the  early  K’ang-hsi  period  (1662—1722).  Invested  within  and  without  in  a  mono¬ 
chrome  glaze  of  apple  green,  of  uniform  tint  and  iridescent  quality.  Carved 
teakwood  stand. 

Diameter,  7  inches. 


314 — Rose  Souffle  Vase. 

Oviform,  with  slender,  tubular  neck  and  flaring  base.  Clear  white  porcelain  of  the 
Yung-cheng  period  (1723—1735),  which  is  invested  with  a  rose-colored  glaze 
of  even  quality  and  orange-peel  surface. 

Height,  11  inches. 


315  —  Globular  Jar. 

Clear  white  porcelain  of  the  K’ang-hsi  period  (1662—1722).  Enamelled  with  a  pel¬ 
lucid  monochrome  glaze  of  pale  sky-blue  tint  known  as  “moonlight  white,”  or 
clair-de-lune ,  glaze.  Six-character  mark  pencilled  in  under-glaze  blue. 

Height,  3  inches. 


316  —  Sung  Coupe. 


Of  soft  texture.  Invested  with  a  mottled  red  and  purple  glaze  of  finished  technique. 
From  “Collection  Marquis,”  Paris. 


Diameter,  3  inches. 


317  —  Writer's  Water  Jar. 

Invested  with  a  peach-bloom  glaze  of  varied  tint  and  fine  quality.  Three  disks  of 
incised  floral  motive  beautifully  drawn  in  the  paste.  The  mark  pencilled  un¬ 
derneath,  in  under-glaze  blue,  is  K’ang-hsi  nien  chih. 

Diameter,  5  inches. 


318  —  Peach-bloo?n  Rouge  Box. 

In  varied  peach  tint,  flecked  with  spots  of  verdigris  green.  On  the  foot  six-character 
mark  of  K’ang-hsi,  1662—1722.  Carved  teakwood  stand. 


319 — Writer's  Water  Dish. 

Of  the  K’ang-hsi  period  (1662—1722),  enamelled  with  the  peach-bloom  glaze  of 
“crushed  strawberry’  tint,  and  mottled  with  clouds  of  apple  green.  Six- 
character  mark  written  underneath  in  cobalt  blue. 

Diameter,  4 inches. 


320  —  Beach-bloom  Amphora. 

Invested  within  and  without  in  a  glaze  to  imitate  the  ripening  peach.  It  is  of  perfect 
technique,  and  the  foot,  which  is  enamelled  in  pure  white  underneath,  is  inscribed 
“Ta  Ch’ing  K’ang-hsi  nien  chih  (1662-1  722),  of  the  great  Ch’ing  [Dynasty]  .” 

Height,  6  inches. 


321  —  Oviform  Jar. 

Thick  porcelain  of  the  early  Ming  period.  Decoration  of  various  disk-shaped  panels, 
diapers,  and  arabesques  in  coral  red;  sceptre- head  and  scroll  borders  and  bands 
in  green.  Seal  mark  pencilled  in  cobalt  blue. 

Height,  8  inches. 


322  —  Hexagonal  Bowl. 

Pure  white  porcelain  of  the  Yung-cheng  period  (1723-1735).  Decoration  in  rose  color 
of  the  peach  and  bat  symbols,  symbolical  of  long  life  and  happiness.  Seal  mark 
pencilled  in  cobalt  blue.  Fine  carved  teakwood  stand. 

Height,  9  inches. 


323  —  Imperial  Yellow  Bottle-shaped.  Vase. 

Thin  texture  of  the  Ch’ien-lung  period  (1736-1795).  Invested  with  a  monochrome 
glaze  of  imperial  yellow,  and  decorated  with  conventional  scrolls  of  peonies, 
etched  in  the  paste  and  enamelled  in  green,  blue,  and  purple. 

Height,  12  inches. 


324  —  Cylindrical  Vase. 

White  porcelain  of  the  K’ang-hsi  period  (1662-1722).  The  decoration  is  etched  in 
the  paste,  and  is  enamelled  in  under-glaze  blue,  maroon,  and  celadon,  all  colors 
of  the  grand  feu ,  and  consists  of  pine  tree,  figures  of  pilgrims,  rocks,  and  sym¬ 
bols.  Ring  and  leaf  mark  underneath  foot. 

Height,  16  inches. 


325  —  “  Thousand  Flowers”  Vase . 

Graceful  bottle  shaped.  Fine  texture  of  the  Chia-ch’ing  period  (1796—1820).  Choice 
example  of  one  of  the  most  interesting  and  elaborate  decorations  known  in 
Chinese  porcelains.  The  whole  surface  is  covered  with  a  mass  of  flowers  in  the 
richest  transparent  and  opaque  enamels.  Seal  mark  pencilled  in  coral  red. 

Height,  12^  inches. 


326  —  Unique  Bottle-shaped  Vase. 

Thick  texture  of  the  Yung-cheng  period  (1723-1735).  Covered  with  white  glaze,  and 
has  a  decoration  of  a  dragon  chasing  the  pearl  of  omnipotence,  carved  in  high 
relief,  and  enamelled  in  coral  red  and  gilding.  Carved  teakwood  stand. 

Height,  iy/2  inches. 


327  —  Decorated  Orange-yellow  Vase. 

Globular  bottle  form,  with  tall  tubular  neck.  The  decoration,  which  consists  of  prunus 
blossoms,  chrysanthemums,  and  bamboo,  is  carved  in  low  relief,  and  enamelled 
in  green,  white,  purple,  and  cobalt  blue.  Invested  throughout  in  a  monochrome 
glaze  of  orange  yellow.  Ch’ien-lung  period,  1736-1795.  Teakwood  stand. 

Height,  16  inches. 


328  —  White  Porcelain  Vase. 


Club  shaped  in  miniature  form.  Clear  white  texture  of  the  K’ang-hsi  period  (1662- 
1722).  The  mark  underneath,  six  characters  arranged  in  three  columns,  is 
beautifully  written  in  under-glaze  cobalt  blue.  Teakwood  stand. 

Height,  5  ]/z  inches. 

329  —  Bottle-shaped  Vase. 

Of  fine  form  and  ivory-white  texture.  Ribbed  body  and  neck,  and  foliated  band  round 
foot.  Incised  seal  mark  of  Ch’ien-lung,  1736-1795.  Finely  carved  teakwood 
stand. 

Height,  inches. 


330  —  Fire  Bowl. 


Pure  white  porcelain, 
stand. 


Conventional  lion-head  ornaments.  Teakwood  cover  and 

Diameter,  5  inches. 


331  —  Globular  Jar. 

Semi-eggshell  texture  of  the  Fen-Ting  “soft  paste”  type.  The  decoration  consists  of 
imperial  dragon,  fire  emblems,  and  sacred  pearl  etched  in  the  paste  underneath 
the  glaze  of  ivory  white.  Yung-cheng,  1723—1735.  Carved  teakwood  stand. 

Diameter,  4^  inches. 


332  —  Bottle-shaped  Vase. 

Exquisite  form  and  texture.  Fen-Ting  “soft  paste”  type.  Band  of  Grecian  pattern 
etched  in  the  paste,  underneath  a  glaze  of  ivory  white  with  pronounced  crackle. 
Handles  on  the  neck,  of  dragon-head  and  ring  design.  Rim  at  foot  without 
glaze,  and  exhibits  softness  of  texture.  Teakwood  stand. 

Height,  13  inches. 


333  —  Soft  Paste  Vase. 

Tall  cylindrical  shape,  with  dragon-head  and  ring  handles.  Etched  band  of  Grecian 
pattern  underneath  a  glaze  of  ivory  white,  which  is  minutely  crackled  through¬ 
out.  Teakwood  stand. 

Height,  14  inches. 


334  —  Bottle-shaped  Vase. 


Ovoid  body  with  tall  tubular  neck  and  a  bulbous  lotus-bud  mouth.  Ivory-white 
texture.  Incised  seal  mark. 


Height,  13^  inches. 


335  —  White  Porcelain  Vase. 

Ivory-white  texture.  Neck  encircled  by  a  band  of  Grecian  design,  etched  in  the  paste 
underneath  the  glaze.  Ch’ien-lung,  1736-1795.  Pine  teakwood  stand. 

Height,  14  inches. 


336  —  Large  Beaker-shaped,  Vase. 

White  sonorous  porcelain  of  ivory-white  type.  The  decoration,  which  is  etched  in  the 
paste,  consists  of  broad  bands  of  palm  leafs  and  floral  sprays  invested  with  a 
pellucid  glaze.  Incised  seal  mark  underneath  the  foot. 

Height,  18  '/2  inches. 


337  —  Bottle-shaped  Vase . 

Of  Fen-Ting  “soft  paste  ”  type.  The  body  of  the  vase  is  covered  with  a  floral  design 
representing  conventional  peonies  in  the  midst  of  leafy  scrolls,  delicately  etched 
in  the  paste  under  a  pellucid  white  glaze.  Ornamental  palmations  encircle  the 
neck  and  the  lower  border  of  the  body.  Yung-cheng,  1723-1735. 

Height,  i6y£  inches. 


338  —  Two  Miniature  Covered  Jars. 

Hard  paste  porcelain  of  the  Ch’ien-lung  period  (1736-1795).  Panel  decoration  of 
“Long  Eliza’s”  and  flowering  plants  in  under-glaze  cobalt  blue. 


339  —  Small  Oviform  Vase. 

Pure  white  hard  paste  porcelain.  Decoration  of  floral  and  leaf  scrolls  delicately  pencilled 
in  under-glaze  blue  of  pale  tint.  Four-character  mark  of  Ch’eng-hua,  1465- 
1487. 

Height,  5  inches. 


340 — Semi-eggshell  Tea  Cup. 

Pure  white  porcelain  of  the  Ch’ien-lung  period  (1736-1795).  Decoration  of  the 
flowering  lotus  and  a  crane  in  brilliant  under-glaze  blue.  Seal  mark. 


341  —  Helmet-shaped  Pitcher. 

Old  bleu-de-Nankin.  Decoration  of  landscape  and  water  view  in  brilliant  cobalt  blue, 
with  ornamental  gilding. 


342  —  Fire  Bowl. 

Hard  paste  porcelain  of  the  K’ang-hsi  period  (1662-1722).  Decoration  of  flowering 
plants,  butterflies,  and  leaf-pattern  border  in  cobalt  blue.  Teakwood  openwork 
cover. 

Diameter,  sVz  inches. 


343  —  Wine  Ewer. 

Persian  form.  Two-panel  decoration  in  which  are  figure  of  fisherman,  tv/o  deer, 
rocks,  and  grasses  painted  in  deep  blue.  Invested  with  a  brilliant  powder-blue 
glaze. 


344  —  Covered  Cup  with  Saucer. 

Fine  hard  paste  porcelain  of  the  K’ang-hsi  period  (1662-1722).  Panel  decoration  of 
floral  sprays  in  outline  on  a  dark  blue  ground.  Mark  underneath  foot,  leaf 
symbol  within  circle. 


345  —  Tea  Cup. 


Pure  white  porcelain  of  semi-eggshell  texture.  Flowering  lotus  pencilled  in  brilliant 
under-glaze  blue.  Seal  mark  of  Ch’ien-lung  period,  1736—1795. 


34G  —  Three  Blue  and  White  Saucers . 

Pure  white  hard  paste.  Decoration  of  flowering  plants  in  brilliant  cobalt  blue.  Yung- 
cheng  and  Ch’ien-lung  periods. 


347  —  Oviform  Jar. 

Pure  white  hard  paste  porcelain  of  the  Yung-cheng  period  (1723-1735).  Decoration 
of  plum,  pine,  and  bamboo,  delicately  pencilled  in  under-glaze  blue.  Sceptre- 
head  borders.  Teakwood  stand. 

Height,  4^  inches. 

348  —  Wine  Ewer. 

Hard  paste  porcelain  of  the  K’ang-hsi  period  (1662—1722).  Coated  with  a  mottled 
glaze  of  rich  mazarin  blue  of  fine  quality.  Decorated  over  the  glaze  with  floral 
sprays  painted  in  gold. 

Height,  8  inches. 


349  —  Tea  Caddy. 

Dense  porcelain.  Decoration  of  sprays  of  prunus  blossoms  pencilled  in  under-glaze 
blue  in  two  white  leaf-shaped  panels.  Lotus  flowers  and  leaf  scrolls  outlined  on 
a  ground  to  represent  cracking  ice. 

Height,  8%  inches. 

350  —  Soft  Baste  Galipot . 

Of  graceful  form  and  finished  technique.  Brown  crackle  texture  of  Fen-Ting  type  of 
light  weight;  clusters  of  peach  and  pomegranate  fruit  artistically  pencilled  in 
fine  blue  under  the  glaze.  A  band  of  floral  scrolls  and  butterflies  is  round  the 
shoulder,  and  a  ring  of  palmations  encircles  the  base. 

Height,  7%  inches. 

351  —  Oviform  Jar. 

White  hard  paste  of  the  Chia-ch’ing  period  (1796-1820).  Finely  decorated,  in  brilliant 
opaque  blue,  with  lotus  plants,  carp,  and  symbols.  Six-character  mark,  within 
double  circle,  pencilled  in  deep  cobalt  blue. 


Height,  5  inches. 


352  —  Blue  and  White  Brocaded  Vase. 

Persian  form,  with  bulging  body  and  slender,  tapering  neck.  Decorated  in  fine  cobalt 
blue  of  pure  tint,  with  floral  ground  and  foliated  panels  of  floral  brocade.  The 
texture  is  Fen-Ting  “soft  paste”  type  of  fine  quality.  The  mark  inscribed 
underneath  is  a  leaf,  outlined  in  blue.  A  common  sign  of  the  K’ang-hsi  period, 
1662-1722.  Silver  cap. 

Height,  7  inches. 


353  —  Wine  Ewer. 

White  hard  paste  of  the  early  K’ang-hsi  period  (1662-1722).  Panel  decoration  of 
foliated  outline  on  a  brilliant  opaque  blue  ground,  the  body  covered  with  a  ground 
to  imitate  the  cracking  of  ice. 

Height,  7  yz  inches. 


354 —  Ginger  Jar  with  Original  Cover. 

Hard  paste.  Decoration  of  lotus,  prunus  blossoms,  and  peonies  pencilled  in  brilliant 
under-glaze  blue,  within  circular  shaped  panels.  Clusters  of  blossoms  and  fruits 
round  shoulder;  and  base  encircled  by  a  band  of  corrugated  design  carved  in  the 
paste.  Six-character  mark,  Cheng-hua,  1465-1487. 

Height,  9  inches. 

355  —  Ginger  Jar  with  Original  Cover. 

Companion  to  the  preceding. 

Height,  9  inches. 


356  —  Beaker-shaped  Vase. 

Soft  paste  texture.  Hsiian-te  period  (1426-1435).  Landscape,  pagodas,  river  view, 
and  mountain  scenery  pencilled  in  deep  cobalt  blue  under  an  ivory-white  glaze. 

Height,  inches. 


357  —  Hawthorn  Ginger  Jar  with  Porcelain  Cover. 

Ground  of  opaque  blue,  with  markings  to  represent  cracking  ice;  branches  of  prunus 
blossoms  in  white  reserve.  K’ang-hsi  period,  1662—1722. 

Height,  inches. 


358 — Hawthorn  Ginger  Jar. 

Clear  white  hard  paste  of  the  K’ang-hsi  period  (1662—1722).  Branches  of  prunus 
blossoms  in  white  reserve,  on  a  ground  of  fine  opaque  blue  marked  to  represent 
cracking  ice.  Teakwood  cover. 

Height,  inches. 


359  —  Blue  and  White  Vase. 

Globular  body,  with  tall  cylindrical  neck  spreading  at  mouth.  Pure  white  porcelain  of 
the  K’ang-hsi  period  (1662-1722).  Numerous  panels  of  various  shapes,  which 
are  filled  with  figures,  garden  scenes,  landscapes,  and  flowering  plants,  beauti¬ 
fully  pencilled  in  brilliant  under-glaze  blue  of  pure  tint,  encircled  by  bands  of 
floral  sprays.  The  mark  underneath  is  a  leaf  within  a  circle  pencilled  in  blue. 

Height,  17  inches. 


3 GO  —  Hawthorn  Beaker-shaped  Vase. 

Clear  white  hard  paste  of  the  K’ang-hsi  period  (1662—1722).  Decoration  of  branches 
of  prunus  blossoms,  the  floral  emblem  of  the  New  Year,  in  reserve  upon  a 
mottled  background  of  opaque  blue,  which  is  covered  with  a  reticulation  of 
darker  blue  lines  to  represent  cracking  ice,  a  symbol  of  the  coming  spring. 
Mark  underneath,  double  circle  pencilled  in  cobalt  blue. 

Height,  18  inches. 

3G1  —  Hawthorn  Temple  Jar  with  Original  Hat-shaped  Cover. 

Decorated  with  cobalt  blue  of  the  K’ang-hsi  period  (1662—1722),  with  blossoming 
branches  and  twigs  of  the  mei  flower,  the  branches  alternately  upward  and 
downward,  so  as  to  display  their  white  blossoms  and  buds  reserved  upon  a  mot¬ 
tled  background  of  blue,  which  is  covered  with  a  reticulation  of  dark  blue  lines 
to  represent  cracking  ice.  Mark  underneath  foot,  double  circle  pencilled  in  blue. 

Height,  18  inches. 

362  —  Hawthorn  Temple  Jar  with  Original  Hat-shaped  Cover . 

Companion  to  the  preceding. 

Height,  18  inches. 

363  —  Large  Pilgrim  Bottle . 

Literally,  full-moon  vase,  of  graceful  form  and  technique.  The  body  of  the  vase  is 
covered  with  a  floral  design  representing  conventional  peonies  in  the  midst  of 
leafy  scrolls,  beautifully  pencilled  in  under-glaze  blue  of  pure  tint.  Ornamental 
palmation  an._  sceptre-head  scrolls  encircle  the  neck  and  lower  border  of  the 
body.  On  the  neck  are  two  rudimentary  dragon  handles.  Ch’ien-lung  period, 
I73^-I795-  Teakwood  finish. 

Height,  19  inches. 

364- — Cloisonne  Enamel  Vase. 


Ovoid  bottle  shaped,  with  tall  slender  neck.  Conventionalized  flowers,  arabesque  and 
palmations  in  dark  tones  of  blue,  red,  white,  and  jade  green,  on  turquoise-blue 
and  yellow  ground.  Coral  incrustation  and  carved  jade  stopper.  Ch’ien-lung, 
1736— 1 795.  Teakwood  stand. 

Height,  9  inches. 


365  —  Cloisonne  Enamel  Plate. 


Old  Japanese  shippo.  Floral  and  leaf  scrolls,  and  medallion  patterns  in  low  tones  on 
dark  green  ground. 

Diameter,  12  inches. 

366  —  Large  Cloisonne  Cake  Box. 

Outside  and  inside  of  dark  blue  and  turquoise  ground,  with  birds,  cloud  forms,  crests, 
and  various  symbols  in  brilliant  enamels.  Ch’ien-lung,  1736-1795. 

Diameter,  12  inches. 

367  —  Tea  Service  with  Tray. 

Old  Pekin  enamel.  Fashioned  after  the  Chinese  peach. 

6  pieces. 

368  —  Ewer  and  Basin. 


Fine  specimens  of  old  Pekin  enamel.  Decoration  of  flowers,  fruits,  and  leaf  scrolls  in 
delicate  colors  on  a  white  enamelled  ground. 


735 


yapanese  Lacquers 


369  —  Sake  Cup. 


Cherry  blossoms  floating  on  stream, 
dull  powdered-gold  ground. 


delicately  painted  in  soft,  shaded  gold  lacquer  on  a 
Seventeenth  century. 

Diameter,  3^  inches. 


370 — Sake  Cup. 

A  view  of  Susaki,  bay  of  Tokio,  exquisitely  painted  in  centre,  in  finely  powdered  gold 
and  red  lacquers.  The  back  is  finished  in  red  lacquer.  Inscribed  “Tokio, 
Susaki.”  Nineteenth  century. 

Diameter,  4%.  inches. 


371  —  Sake  Cup. 

Silver  lacquer  in  low-tone  finish.  Decoration  of  “  Nara  dolls”  and  cherry  blossoms, 
most  delicately  and  artistically  painted  in  various  tones  of  gold  and  red  lacquer. 
Eighteenth  century. 

Diameter,  3 inches. 


372  —  Hexagonal  Box. 

With  small  opening  on  top.  Landscape  and  group  of  cranes  minutely  and  artistically 
painted  in  powdered  and  polished  gold  lacquer  over  a  beautiful  black  lacquer 
ground;  partial  embellishment  in  leaf-gold  squares,  in  mosaic  style.  Inside  fin¬ 
ished  in  red-gold  nashiji.  Seventeenth  century. 

Height,  2 yz  inches. 


373  —  Octagonal  Box. 

With  lead  rim.  Gold  nashiji  lacquer  of  yellow  tone.  Cover  in  design  of  folded 
brocade,  and  decoration  of  chrysanthemum  in  raised  gold  lacquer.  Sixteenth 
century. 

Height,  inches. 


374  —  Minute  Perfume  Box. 

Low  oblong  form.  Gold  lacquer.  Basket  with  sprays  of  chrysanthemum  and  peony 
exquisitely  and  delicately  painted  on  top  of  the  cover  in  low-tone  and  pow¬ 
dered  goid  lacquers.  Interior  finished  in  nashiji.  Seventeenth  century. 

Height,  inch. 


375  —  Round  Box. 


Finely  powdered  gold  lacquer.  Top  of  cover  is  decorated  with  design  of  cards,  on 
which  are  figures  and  other  patterns  exquisitely  painted  in  gold  and  colored 
lacquers.  Interior  of  yellow  nashiji.  Seventeenth  century. 

Diameter,  3  inches. 


376  —  Tea  Caddy. 


Powdered  gold  lacquer.  Profusion  of  kiri  flowers  decorated  over  its  entire  surface  in 
dull  gold  lacquer  and  in  mother-of-pearl  inlay.  Seventeenth  century. 

Height,  3  inches  ;  diameter,  3  inches. 


377 —  Wine  Cup. 

Carved  bamboo.  Sprays  of  wistaria  flowers  and  feathers  painted  in  raised  gold  lacquer 
of  various  tones.  Interior  is  covered  with  a  beautiful  yellow-gold  lacquer. 
Signed  on  the  base,  in  black,  Kichosai.  Eighteenth  century. 

Height,  2j^  inches. 

378  —  Tea  Caddy. 

Ivory,  with  gold  lacquer  decoration  of  various  shaped  fans,  and  scenes  illustrating  Japanese 
industrial  and  domestic  life,  and  flowers  and  plants,  most  minutely  drawn  in 
raised  gold  and  colored  lacquers.  Eighteenth  century. 

Height,  2>%  inches  ;  diameter,  2 y2  inches. 


379  —  Miniature  Cabinet. 


Of  artistic  workmanship.  The  decoration  consists  of  wave  design  accurately  treated 
with  mother-of-pearl  incrustation,  and  herons,  figures,  cottages,  and  chrysan¬ 
themums  in  ivory  and  coral  inlays.  Panel  decoration,  symbolical  of  the  four 
seasons,  is  artistically  treated  in  mother-of-pearl,  ivory,  and  raised  gold  lacquers 
of  various  tones.  The  back  of  the  door  is  embellished  with  plum  tree  and 
bird  in  mother-of-pearl  and  coral  inlay  over  a  ground  of  gold  mosaic  finish,  and 
three  drawers  are  beautifully  decorated  with  wave  designs  in  powdered  gold. 
Handles  and  mountings  of  silver,  etched  and  chased.  Seventeenth  century. 


380  —  Inro. 


Height,  2j^  inches. 


Four  sections.  Black  lacquer.  Decorations  of  dog-foo  in  gold  in  bold  relief  on  the 
obverse,  and  in  silver  incrustation  on  the  reverse.  Interior  is  of  reddish-gold 
nashiji  of  fine  quality.  The  gold  lacquer  decoration  is  by  Kaji-Kawa,  and  that  in 
silver  by  Soyo.  Signed  Yokoya  Soyo  Saku.  The  netsuke  is  in  design  of  a 
dog-foo  and  waterfall,  carved  in  bold  relief.  Slide  in  shape  of  a  lotus  pod 
with  a  crab  on  it.  Seventeenth  century. 


381  —  I  tiro. 


Ivory. 


Carved  design  of  tigers  and  dragon  in  bamboo  grove.  Interior  of  black 
lacquer.  Netsuke  of  ivory  in  form  of  bamboo.  Shakudo  slide.  Seventeenth 
century. 


382  —  Inro . 


Four  sections.  Polished  gold  laquer.  Decoration  of  three  standing  cranes  and  a  pair  of 
sacred  tortoises  in  raised  gold  lacquer,  which  is  partly  overlaid  with  leaf  gold. 
In  reserve  space  are  pine,  bamboo,  and  plum  branches  in  profusion,  exquisitely 
treated  in  polished  gold  over  a  brilliant  black  ground.  The  interior  is  of  red- 
gold  lacquer  of  fine  quality.  Signed  Kaji-Kawa.  Seventeenth  century.  Carved 
ivory  netsuke  in  design  of  Rakan  and  an  imp.  Iron  slide  with  gold,  silver, 
and  bronze  inlay. 


383  —  Inro. 

Cylindrical  shape,  in  five  sections.  Vermilion-red  lacquer.  Decoration  of  dog-foo  and 
dragon  in  raised  gold.  Ivory  netsuke  in  shape  of  leaf,  and  two  slides  of  carved 
stone  and  bronze.  Antique  brocade  bag  with  a  carved  wood  mask  netsuke  by 
Mashiro.  Seventeenth  century. 


384  — Inro. 

Four  sections.  Black  lacquer.  Decoration  of  sacred  elephant  and  a  figure  in  raised  gold 
lacquer  and  mother-of-pearl  inlay.  Carved  ivory  netsuke,  incrusted  with  three 
figures  made  of  gold,  shibuichi,  and  shakudo,  artistically  carved  and  chased. 
Signed  Kimura  Zikkioku.  Seventeenth  century. 


385  —  Inro. 

Five  sections.  Powdered  gold  lacquer.  Decoration  of  plants,  executed  in  raised  gold 
lacquer  and  incrusted  with  coral  and  malachite.  Interior  of  red-gold  nashiji 
of  high  grade.  Eighteenth  century. 

386 — Inro. 

Three  sections.  Carved  ivory.  Decoration  of  armor,  musical  instruments,  dolls, 
flowers,  and  tangaku  papers,  in  various  shaped  panels,  in  raised  and  powdered 
gold  lacquers ;  the  reserved  space,  of  carved  basket-work  pattern.  By  Kwanyosai. 
Antique  wood  netsuke,  figure  of  “no”  dancer,  by  Masakazu.  Ivory  slide  in 
design  of  god  of  the  wind.  Eighteenth  century. 

387  —  Inro. 

Two  sections.  Black  lacquer.  Decoration  of  lilies  in  cinnabar  lacquer  and  mother- 
of-pearl  incrustation.  Netsuke  of  cinnabar,  with  decoration  of  heads  of  an¬ 

cient  Chinese  dignitaries  in  lacquei,  mother-of-pearl,  and  ivory  incrustation. 
Cinnabar  slide  with  carved  Chinese  figures  and  landscapes.  Seventeenth  century. 


388 — Inro. 

Three  sections.  Powdered  gold  lacquer  of  low  tone.  Decoration  of  Chinese  sym¬ 
bol  “Ziii”  (longevity),  painted  in  vermilion  lacquer  and  outlined  with  gold, 
the  reserved  space,  filled  with  pine,  plum  and  bamboo  leaves,  partly  inlaid  with 
mother-of-pearl  and  overlaid  with  leaf-gold.  Gold  nashiji  lacquer  finish  inside. 
Seventeenth  century. 


389 — Inro. 


Five  sections.  Powdered  gold  lacquer.  Decoration  of  dragon  and  storm  clouds 
spiritedly  drawn  in  India  ink  over  finely  powdered  gold  lacquer,  and  interior  of 
gold  nashiji.  By  Tokasai.  Netsuke  in  shape  of  tea  caddy,  decorated  with  chrys¬ 
anthemums  in  raised  gold.  Ivory  slide  minutely  carved  with  profusion  of 

chrysanthemums  and  peony  flower  in  openwork.  Eighteenth  century. 


390 —  Inro. 

Three  sections.  Green  lacquer  in  imitation  of  ancient  Chinese  bronze.  Decoration 
of  facsimiles  of  ancient  copper  coins  of  China  in  raised  lacquer.  A  large 
ivory  netsuke,  with  medallion  in  centre,  of  bronze,  on  which  is  carved  the  head 
of  a  woman,  and  incrusted  with  bronze  and  silver.  By  Nawohiro.  Early  eigh¬ 
teenth  century. 

391 —  Inro. 

Three  sections.  Black  lacquer.  Decoration  of  screens  with  fan  designs,  storks, 
pines,  and  the  seven  wise  men  of  bamboo  grove,  painted  with  precision  in 
various  tones  of  gold  lacquer.  Gold  nashiji  lacquer  of  unusually  fine  grade 
covers  interior.  Seventeenth  century. 

392 —  Inro. 

Five  sections.  Powdered  gold  lacquer.  Medallions  of  chrysanthemums  painted  over 
entire  surface  in  powdered  and  raised  gold  lacquer,  and  Giobu  nashiji  of  small 
grains  covering  interior.  By  Kaji-Kawa.  Gold  lacquer  netsuke  in  shape  of  a 
flat  box  in  powdered  gold  lacquer  of  red,  green,  and  yellow  tints  by  Taishin. 
Seventeenth  century. 

393  —  Inro. 

Three  sections.  Of  gold  hirame  finish,  filled  in  with  pieces  of  cut  leaf  gold.  A 
pair  of  peacocks,  elaborately  executed  with  artistic  skill,  in  raised  and  powdered 
gold  lacquer,  slightly  inlaid  with  mother-of-pearl;  the  interior  of  finely  powdered 
gold  lacquer  of  low  tone.  By  Koma  Kiuhaku.  Ivory  netsuke,  carved  by  Ma- 
sumoto.  Silver  slide  with  flower  decoration.  Early  eighteenth  century. 

394  —  Inro. 

Five  sections.  Gold  lacquer.  Chrysanthemums  in  various  stages  painted  in  powdered 
gold  lacquer  on  slight  nashiji  lacquer  ground,  and  interior  of  gold  nashiji,  of 
high  grade.  Carved  ivory  netsuke,  design  of  maple  leaves.  Seventeenth  century. 


395  —  Inro. 

Ivory.  Three  sections.  Decoration  of  peaches  on  both  sides,  carved  in  bold  relief,  the 
reserved  space  in  wave  and  dragon  design;  interior  covered  with  gold  lacquer. 
Carved  wood  netsuke  in  design  of  a  coiled  dragon,  and  an  ivory  slide  incrusted 
with  mother-of-pearl.  Early  eighteenth  century. 


396  —  Inro. 


With  a  small  tray  inside.  Powdered  gold  lacquer.  Decoration  of  the  seven  wise  men 
of  bamboo  grove  in  lead,  mother-of-pearl,  and  gold  inlay.  A  fine  example 
by  Korin.  Seventeenth  century.  Has  silver  slide  of  dragon  and  cloud  design. 

397  —  Inro. 

Five  sections.  Powdered  gold  lacquer.  Interior  of  Chinese  palace,  flower  garden,  and 
,  surrounding  views  skilfully  pencilled  in  powdered  and  raised  gold ;  figures  of 

Chinese  lady  and  attendant  wrought  in  gold,  silver,  and  shibuichi.  By  Kaji- 
Kawa.  Metal  figures  by  Toshinaga.  Seventeenth  century.  Gold  netsuke  with 
two  kiri  crests,  and  a  silver  slide  design  of  floral  medallions. 

398  —  Inro. 

Five  sections.  Gold  lacquer.  Decoration  of  bamboo  grove  and  rivulet,  in  raised  gold, 
and  polished.  The  cloud  effect  and  banks  of  river  are  finished  in  gold  mosaic 
style,  being  filled  in  with  small  squares  of  cut  leaf  gold;  interior  of  gold  nashiji 
lacquer  of  high  grade.  Cinnabar  netsuke,  with  figures  and  landscapes  delicately 
carved.  Seventeenth  century. 


399  —  Writing  Brush  with  Cap. 

Chinese  cinnabar  lacquer.  Figures,  landscape,  and  houses  skilfully  carved.  Early 
seventeenth  century. 


400  —  Rouge  Box. 


Chinese  cinnabar  lacquer.  Interior  view  of  Chinese  house  and  figures,  exquisitely  carved. 
The  sides  are  in  key  pattern. 

Diameter,  2j^  inches. 


401 — Miniature  Table. 


With  two  sets  of  small  boxes,  each  in  three  sections.  Landscape,  houses,  waterfall, 
and  rivers  skilfully  and  minutely  pencilled  in  exceedingly  fine  powdered  gold 
lacquer  and  highly  polished.  The  mountains,  cloud  effects,  and  river  banks  are 
filled  in  with  small  gold  squares;  the  blossoms  and  pine-needles  are  in  raised  gold 
lacquer,  painted  with  utmost  precision.  The  two  smaller  boxes  are  decorated 
with  diaper  patterns  over  their  entire  surface,  and  finished  in  high  polish. 
Interior  of  gold  nashiji  of  high  grade.  Seventeenth  century. 

Height,  2^  inches ;  width,  4 ^  inches. 

402  —  Unique  Perfume  Box. 

Three  smaller  boxes  inside  of  upper  compartment,  and  tray  in  the  lower  compartment. 
Decorated  on  top  of  the  cover  with  head  of  dog-foo  in  a  spirited  manner,  and 
painted  in  finely  powdered  gold  lacquer  in  relief;  the  eyes  and  part  of  teeth 
incrusted  with  ivory  and  mother-of-pearl;  on  the  sides  and  covers  of  the  three 
smaller  boxes  are  peony  flowers  in  powdered  gold  lacquer  of  various  tints.  In  the 
centre  of  small  tray  are  figures  of  three  dog-foos.  Gold  nashiji  lacquer  of  very 
high  grade  covers  the  interior.  Seventeenth  century. 

Height,  3  inches  ;  width,  4  inches. 


In  two  sections  and  with  overlapping  cover.  Landscape  in  exquisite  gold  lacquer 
painting,  and  finished  in  powdered  gold.  Interior  of  gold  nashiji  lacquer  of 
yellow  tone.  About  1750. 

Height,  2/i  inches ;  diameter,  4  inches. 


404  —  Fan-shaped  Box. 

Powdered  gold  lacquer, 
nashiji  lacquer. 


View  of  Mount  Fuji  and  a  dragon  in  gold.  Interior  of  gold 
About  1800. 

Height,  2  inches  ;  diameter,  5  inches. 


405  —  Box. 

With  five  rounded  corners.  Powdered  gold  lacquer.  Decoration  of  peacocks  and 
palm-leaves,  skilfully  painted.  Interior  and  back  finished  in  clouded  gold 
nashiji  lacquer. 

Height,  2%  inches ;  diameter,  4X  inches. 


40G  —  Incense  Box. 

With  nine  smaller  boxes  inside.  Gold  and  black  lacquer.  Decoration  of  crests  and 
conventional  diaper  designs  on  top  and  on  sides  in  gold.  Interior  of  each  box 
finis-hed  in  muranashiji  of  high  grade.  About  1650. 

Height,  1%  inches;  diameter,  5^  inches. 

407  —  Perfume  Box  and  Tray. 

Powdered  gold  lacquer  of  unusually  fine  quality.  On  the  cover  and  round  the  box 
are  designs  of  ancient  Japanese  illustrated  books  of  poems  and  fiction,  which 
are  most  faithfully  reproduced  in  gold  lacquer  painting  in  various  treatment, 
such  as  togidashi  (polished),  kin-fun  (powdered  gold  lacquer),  takamakie  (raised 
gold  lacquer),  and  kiri-kane  (cut  gold-leaf  lacquer).  The  tray  has  gold  lacquer 
painting  of  wild  chrysanthemums  and  a  river  scene  most  exquisitely  executed  in 
polished  and  raised  gold  lacquer,  the  border  in  small  diaper  pattern.  The  interior 
and  round  the  inside  border  are  filled  in  with  cut  gold-leaf  lacquer  in  mosaic 
style.  The  edges  are  mounted  with  silver.  Early  seventeenth  century. 

Height,  2^f  inches  ;  diameter,  6  inches. 

408  —  Perfume  Box. 

In  two  sections,  and  with  two  smaller  boxes  inside.  Gold  nashiji  lacquer  of  a  red  tone 
and  of  a  high  grade.  Decorations  on  top  and  sides  are  of  plum  trees  in  blossom, 
pine  and  bamboo  leaves,  exquisitely  executed  in  powdered  and  raised  gold  lac¬ 
quer.  Back  of  the  cover  is  similarly  decorated  with  pine  and  plum  blossoms  on 
a  nashiji  background.  Interior  of  beautiful  gold  nashiji.  Sixteenth  century. 

Height,  3  inches  ;  diameter,  4^  inches. 

409  —  Fan-shaped  Tray. 

Raised  and  powdered  gold  lacquer.  Decoration  of  landscape  and  garden  views,  minutely 
executed  in  gold.  Parts  of  rocks,  mountain  tops,  river  banks,  and  cloud  designs 
are  finished  in  gold  lacquer  mosaics.  Seventeenth  century. 

Diameter,  n ^  inches. 


410  —  Perfume  Box. 

With  tray  and  four  smaller  boxes  inside.  Powdered  gold  lacquer  outside,  and  muranashiji 
or  clouded  gold  nashiji  lacquer  inside.  Decoration  on  top  of  box  in  imitation  of 
checker-board,  and  on  sides  diaper  pattern  in  raised  gold  lacquer.  Covers  of 
the  four  smaller  boxes  are  decorated  with  medallions  of  storks,  tortoises,  pine 
trees,  and  bamboos,  in  powdered  and  raised  gold.  The  tray  has  a  spray  of 
tsubaki  flower  beautifully  pencilled  in  gold  lacquer.  Seventeenth  century. 

Height,  3  inches  ;  diameter,  4^  inches. 

41 1  —  Perfume  Box. 

Lozenge  shape.  In  two  sections,  with  tray  inside.  Landscapes,  wild  flowers,  and 
waves  elaborately  executed  in  powdered  and  raised  gold  lacquer  over  a  nashiji 
ground.  Tray,  decorated  with  landscape  and  houses  in  powdered  and  raised 
gold  lacquer,  and  partially  finished  in  gold  lacquer  mosaics.  Interior  of  gold 
nashiji.  Seventeenth  century. 

Height,  4  inches. 

412  —  Box  and  Tray. 

Powdered  gold  lacquer.  Decoration  of  fan-shaped  medallions  and  other  embellishment, 
painted  in  raised  and  powdered  gold  lacquers;  the  edges  and  corners  decorated 
with  Chinese  grass  pattern  in  gold.  Early  eighteenth  century. 

Height,  4^  inches  ;  diameter,  7  y2  X4^f  inches. 

413  —  Manuscript  Box. 

Gold  and  black  lacquer  with  slight  touches  of  gold  nashiji.  Landscape  on  top 
and  profusion  of  maple  leaves  on  back  of  the  cover,  skilfully  painted  in 
gold  lacquer,  with  slight  shading;  the  edges  and  corners  minutely  painted  with 
Chinese  grass  pattern  in  powdered-gold  lacquer.  Seventeenth  century. 

Height,  5^  inches  ;  length,  16  inches. 

414  —  Writing  Case. 

Gold  and  black  lacquer.  Decoration  of  landscape  in  gold.  On  the  back  of  cover, 
beautifully  executed  in  raised  gold,  is  a  trunk  of  a  cherry  tree  and  blossoms;  a 
silver  moon  is  appearing  behind  a  cherry  branch.  The  interior  is  of  muranashiji 
of  fine  quality.  Seventeenth  century. 

Length,  9  inches. 


415  —  Black  Lacquer  Box. 

With  overlapping  cover.  Decoration  of  bamboo  leaves  and  sparrow  in  lead  and 
mother-of-pearl  inlay  and  lacquered  in  gold.  Early  eighteenth  century. 

Diameter,  7  inches. 


416  —  Round  Tray. 

Powdered  gold  lacquer.  Decoration  of  vase  with  flowers,  a  lobster,  and  a  cup  in 
mother-of-pearl,  ivory,  and  jade  incrustation;  the  border  ornamented  with 
scrolls,  treasure-bag,  precious  objects,  and  vines  in  raised  gold  lacquer.  Signed 
“  Ko-gioku.”  Nineteenth  century. 


Diameter,  11  g  inches. 


615  496  622  484  616 

475 


569 


600 


579 


563 


AW  Elson  &  Co. Boston 

552 


THIRD  AFTERNOON'S  SALE 


Tuesday,  January  27th,  1903 

BEGINNING  PROMPTLY  AT  3  O’CLOCK 

Tea  yars  and  Bowls 


417  —  Two  Tea  Jars. 

One,  old  Takatori;  brown  and  black  over  gray  glaze;  thread  mark  at  the  base.  1700. 
The  other,  old  Seto,  in  metallic  souffle  glaze,  intermixed  with  mustard  yellow 
over  hard  reddish  clay;  thread  mark  at  the  base.  About  1650. 


418 — Two  Tea  Jars. 

One,  old  Seto,  in  brown  metallic  souffle,  with  drops  of  tortoise-shell  glaze.  About  1600. 
The  other,  old  Takatori,  with  brilliant  black  glaze,  shading  toward  clouded 
brown;  thread  mark  at  the  base.  About  1700. 


419  —  Two  Tea  Jars. 

One,  old  Seto;  brilliant  black  glaze  thickly  coated  over  a  reddish  hard  clay.  About 
1600.  The  other  old  Seto,  with  reddish-brown  glaze  and  slight  streak  of  black. 
About  1700. 


420 — Two  Tea  Jars. 

One,  old  Seto;  clouded  brown  metallic  glaze.  About  1700.  The  other,  old  Higo, 
covered  with  yellowish-brown  glaze;  thread  mark  at  the  base.  About  1750. 


421  —  Two  Tea  Jars. 

One,  old  Seto;  clouded  brown  glaze,  with  splashes  of  pale  gray  over  yellow  ground;  has 
thread  mark  at  the  base.  About  1700.  The  other,  Tokio  stoneware,  in  green¬ 
ish  blue,  with  drops  of  gray  and  brown  round  the  shoulder;  impressed  mark  of 
Riosai  at  the  base.  About  1870. 


422  —  Two  Tea  Jars. 

One,  old  Takatori;  metallic  brown  glaze,  with  drops  of  yellow  and  black  toward  neck; 
thread  mark  at  the  base.  About  1800.  The  other,  old  Satsuma,  with  brilliant 
dark  brown  glaze,  slightly  mixed  with  drops  of  blue  round  the  shoulder  and 
handles;  fine  thread  marks  at  base.  About  1750. 


423  —  Two  Tea  Jars. 

One,  old  Higo;  dark  greenish  brown,  shading  into  pale  gray;  thread  mark  at  the  base. 
About  1800.  The  other,  old  Tamba,  with  dark  brown  glaze,  clouded  and 
mixed  with  drops  of  yellow  glaze.  About  1750. 


424 — Two  Tea  Jars. 

One,  old  Seto,  in  rich  black,  with  slight  touches  of  yellow  around  the  shoulder,  cover¬ 
ing  gray  hard  clay;  thread  mark  at  the  base.  About  1750.  The  other,  old 
Takatori,  covered  with  a  rich  tortoise-shell  glaze,  mixed  with  greenish  brown 
and  yellow  toward  base;  thread  and  scratched  marks  at  the  base.  About 
1700. 


425 — Two  Tea  Jars. 

One,  old  Seto,  with  rich  brown  and  yellow,  shading  into  buff-colored  glaze,  on  gray 
hard  clay.  About  1650.  The  other,  old  Takatori,  with  small  handles  on  sides; 
metallic  souffle  glaze,  with  drops  of  rich  brown  and  yellow  glaze.  About  1830. 


426  —  Two  Tea  Jars. 

One,  old  Shino,  covered  with  thick  white  and  green  glaze,  running  toward  the  base. 
About  1800.  The  other,  old  Kishiu,  covered  with  rich  purple  and  green  glaze 
over  a  decoration  of  leaves  carved  and  moulded  in  the  clay.  About  1800. 


427  —  Two  Tea  Jars. 

One,  old  Takatori;  reddish-brown  and  yellow  glaze  with  drops  of  brown,  the  lower  part 
left  unglazed,  and  showing  thread  mark.  About  1800.  The  other,  old  Seto, 
with  brilliant  brown  glaze  on  one  side,  and  yellow  and  brown  on  the  other,  thickly 
coated  over  a  body  of  fine  red  clay;  thread  marks  at  the  base.  About  1800. 


428 — Two  Tea  Jars . 

One,  old  Satsuma,  covered  with  brown  and  green  glaze,  with  touches  of  gray  round  the 
base.  About  1800.  The  other,  old  Seto,  metallic  souffle  glaze.  About  1650. 


429  —  Two  Tea  Jars. 

One,  old  Seto,  with  glaze  of  tortoise-shell  effect  running  over  metallic  brown  glaze. 
About  1600.  I  he  other,  old  Satsuma,  covered  with  tea-leaf  glaze  of  fine  texture 
over  body  of  fine  red  clay;  thread  lines  at  the  base.  About  1750. 


430 — Two  Tea  Jars. 

One,  old  Satsuma,  covered  with  a  thick  glaze  of  black,  white,  and  green.  About 
1750.  The  other,  old  Seto,  in  reddish-brown  glaze,  over  reddish-gray  hard 
clay.  About  1700. 

Height,  2^  inches. 


431  —  Two  Tea  Jars. 

One,  Seto,  covered  with  tortoise-shell  glaze,  intermixed  with  metallic  black  on  gray 
hard  clay.  About  1820.  The  other,  Seto,  covered  with  iron-rust  souffle 
over  body  of  red  clay;  thread-line  marks  at  the  base.  About  1800. 


432  —  Two  Tea  Jars. 

One,  old  Takatori,  with  metallic  souffle  glaze,  with  drops  of  brown  and  yellow.  About 
1800.  The  other,  old  Idzumo,  covered  with  a  beautiful  glaze  of  yellow,  with 
streaks  of  red  slightly  running  down  on  one  side  and  a  decoration  of  small 
flowers  and  circles  round  shoulder;  impressed  mark  of  So-zi  at  base.  About 
1800. 


433 — Two  Tea  Jars. 

Old  Seto,  metallic  brown,  mixed  with  black  and  red  glaze.  About  1800. 


434 — Two  Tea  Jars. 

One,  old  Takatori;  low  shape,  covered  with  a  brilliant  glaze  of  black  and  red;  thread¬ 
line  marks  at  base.  About  1700.  The  other,  old  Seto,  covered  with  a  rich 
brown  and  red  glaze;  thread  lines  and  scratched  marks  at  base.  About  1750. 


435 —  Two  Tea  Jars. 

One,  Satsuma,  covered  with  a  metallic  glaze  of  red,  mixed  with  large  drops  of  brown  and 
blue.  About  1820.  The  other,  old  Seto,  with  metallic  glaze  of  brown  and 
red,  with  drops  of  black;  thread-line  marks  at  base.  About  1650. 


436  —  Two  Tea  Jars. 

One,  old  Tamba;  melon  shape,  covered  with  a  rich,  deep  brown  glaze.  About  1800. 
The  other,  old  Seto,  yellowish  brown,  covered  with  irregular  drops  of  thick 
black  glaze.  About  1700. 


437  —  Two  Tea  Jars. 

One,  old  Raku  pottery,  covered  with  rich  green  and  red  glaze,  slightly  mottled ;  mark 
Raku  impressed  at  base.  About  1840.  The  other,  old  Seto,  covered  with  a 
rich  brown,  red,  and  tea-leaf  green  glaze;  thread-line  marks  at  base.  About 
1800. 


438  —  Two  Tea  Jars. 

One,  old  Takatori,  covered  with  fine  metallic  brown  glaze,  mixed  with  drops  of  yellow 
and  green  glaze;  fine  thread-line  marks  at  base.  About  1800.  The  other,  old 
Ohi,  covered  with  iridescent  glaze  of  brownish  yellow;  fine  red  clay.  About 
1800. 

439  —  Two  Tea  Jars. 

One,  old  Seto,  covered  with  a  thick  white,  brown,  and  yellow  glaze.  About  1700. 
The  other,  old  Takatori,  with  narrowing  base,  covered  with  metallic  souffle 
glaze  of  brown,  yellow,  and  red  shadings;  thread-line  marks  at  base.  About 
1750. 


440  —  Two  Tea  Jars. 

One,  old  Imbe,  covered  with  rich,  deep  black  glaze,  running  heavily  at  the  lower  part, 
slightly  touched  with  small  specks  of  white  glaze;  ornamented  at  side  with  two 
circles.  About  1750.  The  other,  old  Tamba,  with  brilliant  glaze  of  brown 
and  black;  thread-line  marks.  About  1750. 

441  —  Two  Tea  Jars. 

One,  old  Idzumo;  yellow  and  brown  glaze,  with  slight  mottling;  unglazed  at  the  base; 
has  thread-line  marks.  About  1800.  The  other,  old  Kioto,  dull  yellowish- 
white  glaze  with  small  specks;  yellowish-red  soft  clay.  About  1800. 


442  —  Two  Tea  Jars. 

One,  old  Seto,  with  beautiful  yellow  and  brown  glaze  on  one  side  and  metallic  brown  on 
the  other,  the  lower  part  left  unglazed ;  thread-line  marks  at  base.  About  1650. 
The  other,  old  Takatori,  covered  with  unusually  fine  glaze  of  steel  black,  with 
touches  of  yellow,  blue,  and  brown  drops  round  shoulder;  decoration  of  small 
line  round  the  centre  of  body;  thread  lines  at  bottom.  About  1700. 


443  —  Two  Tea  Jars. 

One,  old  Tamba,  with  black  glaze  and  streaks  of  brown  thread  lines  at  base.  About 
1750.  The  other,  old  Seto,  with  metallic  brown  glaze,  mixed  with  drops  of 
rich  brownish  black;  thread-line  marks  at  base.  About  1800. 

444 — Two  Tea  Jars. 

One,  old  Seto;  metallic  souffle  of  chocolate  brown;  lower  part  left  unglazed.  About 
1700.,  The  other,  old  Seto,  covered  with  black  glaze  and  slight  touches  of 
brown  and  yellow  of  unusual  brilliancy.  About  1650. 

445  —  Two  Tea  Jars. 

One,  old  Seto,  covered  with  metallic  brown  glaze,  clouded  with  dark  brown  streaks,  on 
gray  hard  clay.  About  1700.  The  other,  old  Seto,  straight  form,  covered 
with  metallic  black  glaze  intermixed  with  chocolate  brown,  the  lower  end  left 
unglazed.  About  1700. 


446  —  Two  Tea  Jars. 

One,  old  Raku  pottery,  with  brilliant  black  Raku  glaze;  mark  Raku  impressed  at 
base.  About  1750.  The  other,  old  Shigaraki,  covered  with  rich  yellow  and 
brown  glaze  on  one  side,  and  rough,  opaque  glaze  of  yellow  brown  on  the 
other;  thread-line  marks  at  base.  About  1800. 

447  —  Two  Tea  Jars. 

One,  old  Satsuma;  tall  shape,  covered  with  iron-rust  souffle  glaze  of  uncommonly  fine 
texture;  the  lower  part  carved  under  glaze;  inscription  in  red  lacquer  (illegible). 
About  1700.  The  other,  old  Iga,  covered  with  yellow  and  brown,  and  deco¬ 
rated  with  three  medallions  in  blue  and  white  at  shoulder.  About  1750. 

448  —  Three  Tea  Jars. 

One,  old  Satsuma,  with  metallic  souffle  glaze,  mixed  with  drops  of  brown  and  gray 
on  one  side;  thread-line  marks  at  base.  About  1800.  Another,  old  Seto;  three 
ears  round  shoulder;  covered  with  metallic  chocolate-brown  glaze,  with  drops 
of  yellow  and  green;  marks  of  thread  lines  at  base;  about  1700.  The  other, 
old  Raku  pottery ;  red  and  bluish-gray  glaze,  mottled ;  mark  of  Kakihau  incised 
at  base.  About  1800. 

449 —  Three  Tea  Jars. 

One,  old  Tamba,  with  brilliant  black  glaze;  marks  of  thread  lines  at  base.  About  1800. 
Another,  old  Tamba,  covered  with  greenish  black,  with  white  drops  on  one  side. 
About  1800.  The  other,  old  Shigaraki,  with  depression  on  four  sides;  covered 
with  a  rich  black  thick  glaze  with  yellow  markings;  thread  lines  at  base.  About 
1800. 


450  —  Three  Tea  Jars. 

One,  old  Seto,  with  metallic  red  and  brown  glaze.  About  1800.  Another,  old  Banko, 
with  pale  blue  and  white  glaze;  marks  Banko,  Fuyeki  impressed  at  base, 
inside  of  flower-shaped  panel.  1800.  The  other,  old  Seto,  with  thick  black 
glaze,  partly  mixed  with  chocolate  brown.  About  1700. 


451  —  Two  Tea  Jars. 

One,  old  Karatsu,  with  pale  gray  glaze,  decorated  with  pine  tree  in  white  enamel  under 
the  glaze.  About  1800.  The  other,  old  Idzumo,  with  dull  yellow  clouded 
glaze.  About  1800. 

452  —  Two  Tea  Jars. 

One,  old  Seto,  covered  with  low-toned,  reddish-brown  glaze,  running  in  thick  layers 
toward  base;  marks  of  thread  lines  at  base.  About  1700.  The  other,  old  Taka- 
tori,  covered  with  glaze  of  tortoise-shell  effect;  a  line  decoration  round  the 
body;  marks  of  thread  lines  at  base.  About  1750. 


453  —  Two  Tea  Jars. 

One,  old  Kutani  porcelain,  decorated  with  landscape  and  figures  in  blue,  and  inscrip¬ 
tion,  “Listening  to  the  sound  of  spring.”  About  1800.  The  other,  old 
Takatori,  covered  with  fine  red  iron  souffle  glaze,  partially  mixed  with  rich 
black  and  brown  glaze  round  the  neck;  marks  of  thread  lines  at  base.  About 
1800. 

454 —  Two  Tea  Jars. 

One,  old  Iga,  with  yellow  and  brown  glaze  over  gray  sandy  clay ;  marks  of  thread  lines 
at  base.  About  1750.  The  other,  old  Seto;  decorated  with  two  shrimps  in 
relief  on  side,  and  covered  with  pale  white  glaze.  About  1800. 

455  —  Two  Tea  Jars. 

One,  old  Takatori,  covered  with  brilliant  black  glaze,  with  yellow  and  brown  spots; 
marks  of  thread  lines  at  base.  About  1750.  The  other,  old  Seto,  decorated 
with  lines,  and  covered  with  metallic  brown  glaze,  mixed  with  drops  of  yellow 
and  brown;  marks  of  thread  lines  at  base.  About  1750. 

456  —  Two  Tea  Jars. 

One,  old  Mino,  covered  with  metallic  black  glaze,  mixed  with  drops  of  brilliant  black 
and  bluish  white  at  shoulder;  fine  red  clay;  mark  Senda  impressed.  About 
1800.  The  other,  oid  Seto,  covered  with  brilliant  metallic  black  and  brown 
glaze;  marks  of  thread  lines  at  base.  About  1750. 


457  —  Two  Tea  Jars. 

One,  old  Awata,  with  original  cover,  decorated  with  maple  leaves  in  blue  and  brown 
over  finely  crackled  body;  mark  Taizan  impressed  at  base.  About  1820.  The 
other,  old  Oribe  porcelain,  flat  shape;  greenish-yellow  glaze,  decorated  with 
leaves  in  brown.  About  1800. 

458 —  Two  Tea  Jars. 

One,  old  Satsuma,  covered  with  a  rich  green  glaze,  with  brown  near  the  lower  part. 
About  1700.  The  other,  old  Seto,  covered  with  rich,  deep  yellowish-brown 
glaze  on  one  side,  and  chocolate  brown  on  the  other.  About  1700. 

459 —  Two  Tea  Jars. 

One,  old  Tamba,  covered  with  bluish-black  glaze;  thread  lines  at  base.  About  1800. 
The  other,  old  Seto;  gourd  shape,  covered  with  metallic  chocolate-brown  glaze; 
thread  lines  at  base.  About  1800. 


460 —  Two  Tea  Jars. 

One,  old  Yatsushiro,  with  mishima  decoration  in  white  under  gray  glaze;  red  hard  clay. 
About  1800.  The  other,  old  Karatsu,  covered  with  thick  tea-leaf  glaze.  About 
1800. 


461  —  Tea  Bowl. 


Crudely  made,  with  small  foot-rim.  Brown  texture,  covered  with  a  black  Raku  glaze. 
Mark  of  Raku  impressed.  About  1750. 

Diameter,  4 yz  inches. 


462  —  Tea  Bowl. 


Old  Takatori.  Metal  rim.  Rich  brown  glaze,  partially  covered  with  drops  of  bluish- 
brown  and  metallic  glaze.  About  1750. 


Diameter,  5^  inches. 


463 — Tea  Bowl. 


Crudely  made.  Covered  with  a  pale  pinkish-red  and  light  gray  Raku  glaze,  and  boldly 
crackled.  About  1800. 

Diameter,  4  inches. 


464 —  Tea  Bowl. 


Tall  shape.  Reddish-brown  and  black  Raku  glaze  of  slight  iridescent  effect.  About  1700. 

Diameter,  3J4  inches. 


465 — Tea  Bowl. 


Yellow  and  gray  glaze.  Incised  decoration  of  five  seated  figures  of  Arhats.  Prob¬ 
ably  early  Chinese  pottery.  About  16th  century. 


Diameter,  5  inches. 


466  —  Tea  Bowl. 


Old  Awata.  Covered  inside  and  outside  with  a  black  glaze  of  even  surface,  leaving 
the  lower  part  in  white  glaze.  Small  foot-rim.  About  1800. 

Diameter,  4  inches. 


467  —  Tea  Bowl. 


Crudely  made.  Covered  with  a  pale  shrimp-red  glaze,  and  has  incised  bands  in  criss¬ 
cross  pattern.  Mark  of  Kakihan  incised  at  the  base.  About  1750. 

Diameter,  inches. 


468  —  Cup. 

Deep  form.  Mukojima  pottery.  Chrysanthemums  in  colors  on  a  white  ground  and 
partially  glazed  with  black  enamel.  Signed  Kenya,  written  in  black  in  panel 
at  the  base.  About  1850. 

Diameter,  3  inches. 


469  —  Tea  Bowl. 


Old  Oribe.  Bamboo  leaves  and  plants  incised,  and  filled  in  with  white  enamel  and 
red  and  blue-gray  glaze.  Inside  of  pronounced  crackle.  About  1700. 

Diameter,  2%  inches. 


470 —  Tea  Bowl. 

Crudely  made.  Covered  with  a  black  Raku  glaze  and  decorated  with  flaming  balls 
incised  under  the  glaze.  Impressed  mark  of  Raku  within  double  circle.  About 
1700. 

Diameter,  4^  inches. 


471 — Tea  Bowl. 


Covered  inside  and  outside  with  a  brilliant  black  Raku  glaze  of  iridescent  quality. 
About  1700. 

Diameter,  4  y2  inches. 


472  —  Tea  Bowl. 


Made  by  Robei,  and  signed  Sei.  Grotesque  medallions  painted  in  black  over  a 
white  glaze,  which  is  boldly  crackled  throughout.  About  1800. 

Diameter,  2/4  inches. 


473  —  Bowl. 


Old  Karatsu  pottery.  Dull  gray  and  white  glaze,  which  is  boldly  crackled  throughout. 
About  1700. 

Diameter,  5  inches. 


474 — Tea  Bowl. 


Early  Seto  pottery  of  hard  brown-red  texture,  covered  with  a  brilliant  deep  black  glaze, 
thickly  coated  toward  the  lower  part.  About  1700. 


Diameter,  5  inches. 


475  — ►  Tea  Bowl . 

Crudely  made.  Covered  with  a  gray  crackled  glaze,  the  outer  border  in  yellow  and 
pink  tints,  with  brush  marks  under  the  glaze.  Mark  of  Raku  impressed.  About 
1750. 

Diameter,  5^  inches. 


47 6  —  Tea  Cup. 


Old  Soma  pottery.  Decoration  of  horses  and  crest  in  bold  relief,  thinly  glazed  in 
brown,  and  speckled.  Mark  of  Soma  impressed  at  base.  About  1800. 

Diameter,  3^  inches. 


477  —  Tea  Bowl . 


With  metal  rim.  Seto  pottery  of  hard  red  texture,  and  covered  inside  and  outside  with 
a  blue  and  gray  glaze,  partially  mottled.  About  1820. 

Diameter,  4 inches. 


478 —  Tea  Bowl. 


Irregular  shape.  Takatori  pottery,  covered  with  a  white  and  pink  glaze,  and  mottled 
with  brown,  yellow,  and  blue.  About  1800. 


Diameter,  5  inches. 


479  —  Tea  Bowl. 


Thin  Takatori  pottery.  Inside  covered  with  a  beautiful  black  glaze  and  drops  of 
brown,  and  the  outside  coated  with  a  yellow-brown  thick  glaze.  About  1800. 

Diameter,  6  inches. 


480  —  Tea  Bowl. 


Covered  inside  and  outside  with  a  red  Raku  glaze, 
base.  About  1710. 


Mark  of  Raku  impressed  at  the 
Diameter,  4  inches. 


481  —  Tea  Bowl. 

Kioto  pottery.  Decoration  of  a  tiger  and  grass  in  brown  and  green,  the  reserve  parts 
in  white  crackled  glaze.  Impressed  mark  of  Sei.  Made  by  Rokubei.  About 
1840. 

Diameter,  3^  inches. 


482  —  Tea  Bowl. 


Thin  Takatori  pottery.  Inside  covered  with  a  gray  and  brown  glaze,  and  the  outside 
with  a  metallic  brown  glaze,  and  drops  of  black,  blue,  and  white.  About  1800. 

Diameter,  4  inches. 


483  —  Tea  Bowl. 


Old  Awata  pottery,  and  covered  with  a  beautiful  glaze  of  old  ivory-white  texture, 
which  is  minutely  crackled  throughout.  About  1800. 


Diameter,  4  inches. 


484  —  Tea  Bowl. 

Deep  form.  Old  Chinese  stoneware.  Covered  with  a  gray  glaze,  under  which  are 
characters  in  white  enamel.  About  1700. 


Diameter,  4^  inches. 


485  —  Tea  Bowl. 


Old  Hagi  pottery.  Decoration  of  crest  of  Tokugawa,  painted  in  brown  under  a  blue- 
white  glaze  with  a  pronounced  crackle.  About  1790. 

Diameter,  4 %  inches. 


486  —  Tea  Bowl. 

Old  Akahada  pottery.  Crudely  made.  Covered  with  a  metallic  brown  glaze  which 
thickens  toward  the  base,  and  has  a  decoration  of  Mount  Fuji  in  white  relief. 
Mark  Akahadayama,  Kishiro,  impressed.  About  1800. 

Diameter,  4  inches. 


487  —  Tea  Bowl. 

Kioto  pottery. 
1800. 


488  —  Bowl. 


Decoration  inside  and  outside  of  fret  design;  brown  glaze.  About 

Diameter,  5  inches. 


Old  Tamba  pottery.  Covered  with  a  brilliant  brown  and  black  glaze  of  smooth  surface 
and  with  slight  touches  of  nashiji  or  “pear-skin”  finish.  Animal-head  orna¬ 
ments  to  serve  as  handles.  About  1700. 

Diameter,  5  %  inches. 


489  —  Tea  Bowl. 


Old  Seto.  Crudely  made.  Decoration  of  plants  in  black  under  the  glaze,  which  is 
boldly  crackled.  About  1800.  (Gold  lacquer  repair.) 

Diameter,  3%  inches. 


490 —  Tea  Bowl. 

Old  Kioto  stoneware,  with  depression  on  one  side.  Decoration  of  leaves  and  fret 
pattern  on  the  inside,  and  drops  of  brown  red  on  blue  and  black  glaze  on  the 
outside.  Mark  of  Ninsei  impressed.  About  1790. 

Diameter,  4  inches. 


491  —  Tea  Bowl. 


Old  Kioto  stoneware,  which  is  covered  with  a  brown  and  pale  gray  glaze,  and  decorated 
with  willow  trees  in  blue  and  black.  About  1800.  Has  carved  teak  stand 
inlaid  with  silver  wire. 

Diameter,  4*4  inches. 


492  —  Bowl. 


Kioto  stoneware.  Made  by  Shozan.  Decoration  of  pine  trees  and  stork  in  blue  and 
green  outlined  with  gold.  Rough,  sandy  texture.  Signed  Kenzan.  About 
1870. 


Diameter,  6  inches. 


493  —  Bowl. 


Pale  pink  and  gray  glaze.  Decoration  of  stork  in  black,  outlined  with  gold.  Fine 
gray  texture.  Mark  of  Ippodo  impressed.  About  1800. 

Diameter,  4 yz  inches. 


494  —  Tea  Bowl. 


Chinese  pottery.  Covered  with  a  dull  green  and  yellow  crackled  glaze.  Decoration 
inside  of  flowers  and  trees,  etched  and  filled  in  with  enamel.  About  1700. 

Diameter,  4j£  inches. 


495  —  Tea  Bowl. 


Hard  reddish-gray  texture.  Covered  with  a  pale  bluish-white  Raku  glaze,  boldly 
crackled.  Mark  in  seal  character  impressed  (illegible). 

Diameter,  inches. 


496  —  Bowl , 

With  spreading  top  and  silver  rim.  Old  Seto  pottery  of  hard  gray  texture,  covered 
inside  and  outside  with  a  brilliant  brown  glaze  and  streaks  of  blue  and  white. 
Mark  of  Shun-rin  impressed  at  base.  About  1700. 

Diameter,  5^  inches. 


497  —  Tea  Bowl. 


Old  Karatsu  pottery.  Plum  trees  with  blossoms  painted  in  blue  under  a  crackled  glaze 
of  white.  About  1750. 


Diameter,  6  inches. 


498  —  Tea  Bowl. 


Soft  texture.  Covered  with  a  red,  brown,  and  green  Raku  glaze  speckled  with  red.  Im¬ 
pressed  seal  mark  (illegible). 

Diameter,  4^4  inches. 


499  —  Tea  Bowl. 


Covered  inside  and  outside  with  a  blue  glaze  of  low  tone  and  thickly  coated.  Probably 
made  by  Riosai,  Tokio.  Nineteenth  century. 


Diameter,  4^  inches. 


500  —  Square  Bowl. 

Old  Seto.  Covered  with  a  yellow  glaze,  slightly  mottled  and  crackled.  (Gold  lacquer 
repair.)  About  1750. 

Diameter,  3^  inches. 


501  —  Tea  Bowl. 


Old  Raku  pottery.  Soft  gray  clay,  covered  with  a  salmon-red  Raku  glaze, 
seal  mark  of  Jisho.  About  1800, 


Impressed 


Diameter,  4^  inches. 


502  —  Tea  Bow/. 


Banko  pottery  of  white  texture.  Inside  and  upper  part  of  outside  covered  with  a  blue 
glaze;  the  lower  part  of  outside  glazed  with  ivory-white  enamel.  About  1800. 

Diameter,  \]/2  inches. 

503  —  Tea  Bowl. 

Old  Karatsu  pottery.  Inside  and  outside  thickly  coated  with  a  white  crackled  glaze. 
Decoration  of  chrysanthemum  flowers  painted  in  under-glaze  blue.  About  1700. 

Diameter,  5  inches. 

504  —  Tea  Bowl. 

Shallow  form.  Covered  with  a  black  Raku  glaze  of  iridescent  quality.  About  1750. 

Diameter,  5  inches. 


505 —  Tea  Bowl. 

Deep  form.  Old  Satsuma.  Decoration  outside  of  floral  medallions,  figures,  flowers,  and 
grasses,  in  blue,  green,  and  gold,  over  an  ivory-white  glaze.  Minutely  crackled 
throughout.  About  1800.  Has  gold  lacquer  stand. 

Diameter,  4  inches. 


50G  —  Tea  Bowl. 


Shallow  form.  Soft  red-brown  texture. 
About  1800. 


Invested  throughout  with  a  black  Raku  glaze 

Diameter,  5  inches. 


507  —  Tea  Bowl. 

Deep  form.  Old  Soma  pottery  of  hard  gray  texture.  The  outside  covered  with  a  dull 
white  glaze,  to  represent  birch-bark,  and  the  inside  of  blue  crackled  glaze,  with 
decoration  of  leaves  painted  in  blue.  About  1750. 

Diameter,  4^  inches. 


508  —  Bowl. 

Kutani  porcelain.  Decoration  of  fruits,  leaves,  and  pine  needles  in  blue  and  purple  on 
the  inside,  and  cloud  designs  in  brown  over  blue  on  the  outside.  Mark  of  Fuku 
at  base.  About  1800. 

Diameter,  6  inches. 


509  —  Bowl. 


Shallow  form.  Old  Kioto  pottery.  Decoration  of  grasses  and  bird,  painted  in  blue  under 
the  glaze,  in  centre  medallion.  The  outside  covered  with  blue  and  yellow-gray 
glaze,  which  thickens  toward  the  edge.  Spun  mark  at  foot,  and  impressed 
mark  of  Ninsei,  in  large  characters,  inside  of  an  oblong  panel.  About  1650. 

Diameter,  7  inches. 

510 —  Tea  Bowl. 

Old  Korean  pottery  of  hard  gray  texture.  Floriated  pattern  scratched  in  centre  under 
the  glaze,  which  is  crackled  throughout.  About  1600. 


Diameter,  7  inches. 


511 —  Tea  Bowl 


Old  Kiyomidsu  pottery.  Flowers  painted  in  blue  and  brown  in  centre  under  a  crackled 
white  glaze.  Impressed  mark  Asahi  tei  (name  of  a  tea-house).  About 

1820. 

Diameter,  8  inches. 


512 —  Octagonal  Bowl. 

Old  Kishiu  porcelain. 
1800. 

Covered  with  a  yellow  and  purple  iridescent  glaze.  About 

Diameter,  6  inches. 

513  —  Bowl. 

Old  Banko  pottery,  of  a  hard  gray  crackled  texture.  Decoration  of  peony  flowers  in 
brown  and  green,  in  freehand  painting.  About  1800. 


514—  Bowl. 

Diameter,  6  inches. 

Irregular  shape.  Old  Oribe  pottery,  coated  with  splash  glaze  of  rich  green,  with  brown 
stripes.  About  1800. 

Diameter,  5^  inches. 

515  —  Bowl. 

Deep  form.  Old  Kioto  stoneware,  probably  by  Rokubei.  Decoration  of  crabs  and 
flowers  sketched  in  blue  and  brown,  over  a  white  glaze.  Nineteenth  century. 


516  —  Bowl. 

Diameter,  sg  inches. 

Old  Kutani  porcelain. 

Decoration  inside,  of  flowers  and  leaves,  boldly  painted  in  rich 

purple,  green,  and  yellow  enamels,  and  the  outside  decorated  with  wave  designs 
in  black  and  blue.  Mark  of  Fuku  at  base.  About  1750. 


517  —  Bowl. 

Diameter,  9  inches. 

With  small  spout.  Kioto  pottery  of  fine  gray  texture,  and  covered  with  a  brown  and 
yellow  glaze.  Nineteenth  century. 


518  —  Bottle. 

Diameter,  3  %  inches. 

Kioto  stoneware.  Decoration  of  plants  under  a  white,  crackled  glaze. 

Height,  \]/z  inches. 

519  —  Covered  Jar. 

Kioto  pottery,  which  is  coated  with  a  thick  blue  glaze  and  has  a  panel  decoration  of 
flowers  and  fret  designs  in  brown. 

Height,  4  inches. 

520  —  Cup  with  Handles. 

Old  Seto.  Rich  brown,  yellow,  and  green  mottled  glaze.  About  1 750. 


Height,  3  inches. 


Old  Japanese  and  Chinese 

Pottery 


521  —  Bottle-shaped  Vase. 

Old  Seto  pottery.  Coated  with  a  splash  glaze  of  white  and  gray,  running  over  a  deep 
black  under-glaze.  (Gold  lacquer  repair.)  About  1800. 

Height,  4 yi,  inches. 


522  —  Bottle-shaped  Vase . 

Old  Takatori.  Hard  reddish  texture,  which  is  covered  with  a  blue  and  brown  glaze. 

Height,  4 ]/2  inches. 


523  —  Hanging  Vase . 


Old  Iga  stoneware.  Crudely  shaped,  and  covered  with  a  brown  and  gray  glaze  of  rough, 
sandy  surface.  Scratched  mark  at  base.  About  1700. 

Height,  4|^  inches. 


524  —Jar. 


Old  Shigaraki  pottery,  which  is  coated  with  a  thick,  brilliant  blue  glaze. 

Height,  3  inches. 


525  —  Vase. 


Kioto  pottery. 

Shozan. 


Sketchy  decoration  of  leaves  and  flowers  in  brown. 
Nineteenth  century. 


Made  by  Okumura 
Height,  4^  inches. 


526— Vase. 


With  rabbit-shaped  handles.  Old  Hagi  pottery, 
glaze  blue.  About  1800. 


Decoration  of  waves  painted  in  under- 
Height,  4 ig  inches  ;  diameter,  4  inches. 


527  —  Gourd-shaped  Bottle. 


Old  Chinese  copper  souffle,  covered  with  a  beautiful  metallic  glaze  of  smooth  surface. 
About  1750. 


Height,  5  inches. 


528  —  Celadon  Jar. 

Old  Chinese.  A  soft,  low-toned  glaze,  covering  the  entire  surface.  About  1650. 

Height,  inches. 


529  —  Bottle. 

With  twisted  neck.  Old  Shidoro  stoneware,  covered  with  a  brown  and  yellow-green 
mottled  glaze.  Impressed  mark  of  Shidoro  within  an  oblong  panel  at  base. 
About  1800. 

Height,  £>%  inches. 


530  —  Vase. 


With  wide  mouth.  Old  Idzumo  pottery,  invested  with  a  rich  red-brown  and  yellow 
glaze.  About  1800. 


Height,  5  inches. 


531  —Jar. 


Shigaraki  pottery,  covered  with  a  blue 
white  specks. 


crackled  glaze,  which  is  marked  with  small 


Height,  5  inches. 


532  —  Jar  with  Handles. 


Old  Seto  pottery,  crudely  shaped,  and 
a  yellow-brown  crackled  glaze. 


with  depressed  finger  marks. 
About  1750. 


Covered  with 


Height,  4  inches. 


533  —  Hanging  Vase. 

Old  Takatori  pottery,  which  is  coated  with  a  yellowish-brown  glaze. 

Height,  6  inches. 


534  —  Wine  Bottle. 


Old  Kioto  pottery.  Figures,  flowers,  and  fret  pattern,  sketched  in  blue,  by  Dohachi, 
Kioto.  Signed. 


Height,  7  inches. 


535  —  Vase. 

Seto  pottery,  coated  with  a  grayish-blue  and  red  glaze  which  is  slightly  mottled.  About 
1800. 

Height,  9  inches. 

536  —  Long-neck  Bottle. 

Old  Mishima-Karatsu  pottery.  Mishima  decoration  in  white  under  a  gray-white  glaze. 
About  1700. 

Height,  "jg  inches. 

537  —  Old  Tamba  Bottle. 

Flask  shaped,  with  handles.  Invested  with  a  brilliant  black  glaze  of  iridescent  quality. 
About  1700. 


Height,  6  inches. 


538  —  Bottle. 


With  short  neck,  which  is  rimmed  with  silver.  Chinese  pottery,  of  fine  gray  crackled 
texture.  Coated  with  blue  glaze,  shading  into  brown.  Probably  1750. 

Height,  5^  inches. 


539  —  Vase. 


With  slender  base.  Takatori  stoneware,  covered  with  a  brown  glaze  and  a  dash  of 
black  round  shoulder. 


Height,  6  inches. 


540  —  Wine  Holder. 


Old  Seto  pottery.  Decoration  of  dragon  modelled  in  relief  in  the  paste  under  a  brown 
glaze,  which  is  splashed  with  pale  blue.  About  1750. 


Height,  5  inches. 


541  —  Old  Tamba  Wine  Bottle. 


Coated  with  a  beautiful  brown-black  glaze  of  smooth  surface. 
Naosaku.  About  1700. 


Impressed  mark  of 
Height,  7  inches. 


542  —  Old  Kikko  Vase. 


With  slender  neck  and  handles, 
brown,  and  green. 


Decoration  of  tree  in  brown  under  a  glaze  of  yellow, 

Height,  7  y2  inches. 


543  —  Old  Seto  Vase. 


With  side  ornaments  in  design  of  animal  heads,  and  covered  with  a  rich  dark  brown 
and  blue  glaze.  About  1800. 


Height,  8^  inches. 


544  —  Flower  Vase. 

Seto  pottery,  which  is  covered  with  a  dark  brown  and  yellow  mottled  glaze.  Band  of 
leaves  around  the  shoulder,  incised  and  filled  in  with  gold.  Impressed  mark 
ofToyosuke.  Nineteenth  century. 

Height,  4^  inches. 


545  —  V ase  with  Handles. 

% 

Fashioned  to  imitate  an  old  iron  vase.  Old  Seto  stoneware,  which  is  invested  with  a 
rich  brown  and  black  glaze  with  metallic  specks.  Impressed  mark  of  Shuntai 
within  an  oblong  panel.  About  1800. 

Height,  11  inches. 

546  —  Red  Raku  Vase. 

Coated  with  white  and  salmon-red  glaze.  Mark  of  Raku  impressed  at  side.  About 


1700. 


Height,  7  inches. 


547  —  Gourd-shaped  Bottle. 

Old  Tamba  pottery,  coated  with  a  white  glaze  which  is  streaked  with  brown.  Neck 
rimmed  with  silver.  Impressed  mark  of  Ichisaku  at  base.  About  1750. 

Height,  1]4,  inches. 

548  —  Vase. 

Oviform,  with  short  neck.  Old  Chinese  celadon  crackled  glaze.  About  1750. 

Height,  7  inches. 

549  —  Oviform  Vase. 

Old  Seto  stoneware  of  gray  texture,  and  covered  with  a  dull  gray  mottled  glaze. 
About  1750. 

Height,  inches. 


550  —  Seto  Jar. 

Coated  with  a  creamy  white  glaze  running  over  a  brown  under-glaze,  which  is  crackled. 
Early  nineteenth  century. 

Height,  s'/z  inches. 


551  —  Sake  Bottle. 

Soma  pottery.  Dull  brown  glaze,  slightly  mottled.  About  1800. 


Height,  6^  inches. 


552  —  Shidoro  Vase. 


With  slender  short  neck  and  supported  by  four  legs,  and  coated  with  a  bluish-white 
running  glaze  over  mottled  brown.  About  1750. 


Height,  inches. 


553  —  Sake  Bottle. 


Old  Kiyomidsu  pottery,  which  is  covered  with  a  blue-green  running  glaze,  and  with 
decoration  of  horse  in  brown.  About  1800. 


Height,  inches. 


554  _  Vase. 


Old  Chinese 
other. 


pottery.  Pale  blue  glaze  on  one  side,  and  a  dull  yellow  glaze  on  the 
Early  sixteenth  century. 

Height,  inches. 


555  —  Cochin-Chine se  Jar. 


Invested  with  a  brilliant  green  glaze,  thickening  at  the  base,  and  crackled  throughout. 
Early  nineteenth  century. 

Height,  35/  inches. 


556  —  Celadon  Vase. 

With  bird-shaped  handles.  Decoration  of  h5wo  bird  carved  in  low  relief  under  the 
glaze,  which  is  boldly  crackled.  Old  Chinese.  Seventeenth  century. 

Height,  8  inches. 


557  — Covered  Bowl. 


In  form  of  a  sacred  ball.  Raku  pottery,  coated  with  a  rich  green  enamel  and 
ornamented  with  gold  lacquer.  Early  eighteenth  century 


558  —  Old  Kioto  Jar. 

Soft  texture,  covered  with  a  dull  white  and  yellow  glaze.  About  1800. 

Height,  4  inches. 

559  —  Tripod  Censer. 

Chinese  porcelain.  Tea-leaf  glaze  of  a  rich  brown  color.  Mark  of  Ch’ien-lung, 

I736”1 795- 

Height,  inches. 

560  —  Tripod  Censer. 

Old  Raku  pottery,  which  is  coated  with  a  green  Raku  glaze.  Conventional  key  pattern 
incised  round  the  shoulder  and  partially  filled  in  with  gold.  About  1800. 

Height,  4  inches. 

561  — Lo?ig-neck  Bottle. 

Satsuma  pottery.  Cream-white  crackled  texture,  and  partially  covered  near  the  top 
with  a  rich  brown,  green,  and  yellow  glaze.  About  1800. 


Height,  9  inches. 


562  —  Bottle. 


With  long  neck  and  flaring  mouth.  Old  Chinese  pottery,  invested  with  a  turquoise- 
blue  crackled  glaze.  Early  eighteenth  century. 

Height,  9  inches. 


563  __  Vase. 


With  flaring  mouth.  Old  Cochin-Chinese  pottery.  Decoration  of  flowers  in  openwork, 
and  enamelled  with  yellow  and  green  glaze.  Early  seventeenth  century. 

Height,  7  ]/z  inches. 


564 —  Old  Oribe  Tray. 


With  handle.  Coated  with  green  splash  glaze  and  decorated  with  flowers  in  brown. 
About  1800. 

Diameter,  8  inches. 


565  —  Old  Satsuma  Bottle. 


With  long  neck.  Dull  ivory-white  texture,  which  is  minutely  crackled  throughout.  Has 
elaborately  carved  teak  stand.  About  1750. 

Height,  10  inches. 


566  —  Takatori  Water  Jar. 


Invested  with  a  red-brown  thick  glaze,  over  which  are  drops  of  yellow.  The  inner 
surface  is  covered  with  a  mustard-yellow  and  brown  mottled  glaze.  Nineteenth 
century.  With  black  lacquer  cover. 


Height,  bg  inches. 


567  —  Old  Agano  Bottle. 


Coated  with  a  dark  brown  and  blue-black  glaze  which  is  partially  mottled.  Early 
eighteenth  century. 


Height,  7  inches. 


568  —  Square-shaped  Bottle. 

With  slender  short  neck.  Old  Kiyomidsu  pottery,  which  is  invested  with  a  cream-white 
glaze,  and  marked  with  drops  of  sea  green  round  the  shoulder.  Eighteenth  century. 

Height,  7  inches. 

569  —  Old  Satsuma  Bottle. 

In  form  of  an  egg  plant.  Brilliant  dark  purple  glaze,  with  streaks  of  a  paler  tint. 
Eighteenth  century. 

Height,  inches. 

570  —  Statuette  of  Kwannon. 

Old  Chinese  pottery,  coated  with  a  black  glaze.  Eighteenth  century. 

Height,  7^  inches. 

571  —  Vase  with  Handles. 

Old  Chinese  pottery,  which  is  covered  with  a  bluish-brown  glaze,  slightly  mottled. 
About  1650. 

Height,  8%  inches. 

572  —  Kiyomidsu  Bottle. 

With  short  neck.  Decoration,  in  a  sketchy  style,  of  plum  trees  and  blossoms  in  white 
and  brown,  on  a  red-gray  glaze.  About  1800. 


Height,  7 ’4"  inches. 


573  — Jar. 


Takatori  stoneware.  Decoration  of  kiri  flowers  and  floral  vines  painted  in  blue  and 
gold.  About  1800. 

Height,  5^  inches. 

574  —  O  kimono. 

In  form  of  a  snowball,  upon  which  a  Chinese  boy  is  standing.  Pale  white  glaze  with 
yellow-brown  crackle.  About  1820. 

Height,  7^  inches. 

575  —  Old  Imbe  Jar. 

Hard  red-brown  texture,  crudely  fashioned,  and  covered  with  a  red  glaze  which  has 
thick  drops  of  yellow  and  brown.  Eighteenth  century. 

Height,  6  inches. 


576  —  Gourd- shaped  Bottle. 

Old  Banko.  Decoration  of  varied  diapered  patterns,  and  figures  within  panels,  incised 
and  glazed.  About  1750. 


Height,  inches. 


577  —  Chinese  Pottery  Vase. 


With  handles  in  design  of  animal  heads,  coated  with  a  rich  brown  glaze.  Mark  of 
Chia-ch’ing,  1796-1820. 

Height,  10  inches. 

578 —  Vase  with  Handles. 

Probably  old  Seto.  Beautiful  blue  glaze  with  splashes  of  white,  and  slightly  mottled. 

Height,  9  inches. 

579 —  Unique  Bottle. 

Old  Takatori  pottery  with  numerous  natural  shells  adhering.  Covered  with  a  yellowish- 
brown  crackled  glaze.  Eighteenth  century. 


Height,  inches. 


580  — Jar. 


581 


Old  Cochin-Chinese  pottery.  Decoration  of  medallions  in  relief  under  a  yellow-brown 
glaze.  Seventeenth  century. 

Height,  6^  inches. 

Gourd-shaped  Bottle. 

Old  Takatori,  which  is  coated  with  a  brilliant  black  and  metallic  brown  glaze.  About 
1700. 


Height,  9  inches. 


582  —  Flower  Vase. 


Satsuma  stoneware.  Iron-rust  glaze,  with  splashes  of  white  and  blue  covering  the  upper 
parts.  About  1800. 

Height,  5^  inches. 

583  —  Short-neck  Bottle. 

Old  Seto.  Invested  with  a  pale  gray  glaze,  boldly  crackled  throughout.  Decoration 
round  the  shoulder  of  medallions  in  under-glaze  blue.  1650. 

Height,  9  inches. 

584 —  Old  Imbe  Jar. 

Invested  with  a  metallic  brown  glaze,  which  is  speckled  with  red-brown  iridescent 
spots.  About  1750. 

Height,  6  inches. 


585  —  Takatori  V ase. 


Tall  quadrilateral  shaped,  and  covered  with  a  yellow-gray  glaze,  slightly  mottled.  About 


1700. 


Height,  8^  inches. 


586  —  Old  Banko  Bowl. 

Shell  shaped.  Inside  covered  with  a  rich  dull  green-blue  glaze  dotted  with  brown  spots, 
and  crackled  throughout.  Outside  is  coated  with  green-brown  and  ivory-white 
crackled  glaze.  About  1700. 


Diameter,  8}£  inches. 


587  —  Water  Jar . 

With  original  cover.  Takatori  pottery,  and  covered  with  splashes  of  buff,  blue,  and 
brown  glaze.  The  cover  is  invested  with  a  beautiful  green  glaze.  About  1750. 

Height,  7  inches. 


588  —  Oviform  Bottle. 


With  short  neck.  Chinese  pottery,  and  covered  with  a  blue-white 
with  brown.  Eighteenth  century. 


glaze  slightly  touched 
Height,  inches. 


589  —  Old  Seto  Jar. 


Coated  with  a  thick  yellow,  dark  brown,  and  metallic  glaze, 
century. 


Probably  early  sixteenth 
Height,  8  inches. 


590 —  Old  Takatori  Jar. 


Decoration  of  geese  in  flight,  painted 
About  1750. 


over  a  pale  blue  glaze,  which  is  crackled. 

Height,  63^  inches. 


591  —  Old  Takatori  Jar. 

Covered  with  a  subdued  yellow-brown  glaze,  which  is  slightly  mottled.  About  1750. 

Height,  7 X  inches. 


592  —  Old  Seto  Bottle. 


Covered  with  a  golden  brown  intermixed  with  a  brilliant  brown  glaze,  boldly  crackled 
around  the  lower  part.  About  1750. 


Height,  8^  inches. 


593 — Old  Karatsu  Jar. 


Thick  brown  texture,  covered  with  a  brown  and  green  glaze  of  rough  surface.  Marks 
of  thread  lines  at  base.  Probably  early  sixteenth  century. 


Height,  6  inches. 


594 —  Old  Idzumo  Tripod  Censer. 

Invested  with  a  rich  dark  brown  and  yellow  glaze  of  iridescent  quality, 
mark  ^illegible).  About  1750. 


Impressed 


Height,  5  inches. 


595  —  Old  Kishiu  Jar. 


Decoration  of  flowers  and  leaves  engraved  and  incised  in  the  paste,  and  covered  with 
green,  yellow,  and  white  glaze  on  a  ground  of  purple.  About  1750. 

Height,  6  inches. 


596 — Old  Takatori  Bottle. 


With  short  neck.  Covered  with  a  rich  dark  green  and  brown  glaze.  About  1700. 

Height,  8  inches. 


597  —  Old  Seto  Jar. 


Covered  with  a  beautiful  sea-green  glaze  of  iridescent  quality.  Mark  Yoshihisa 
incised  underneath  foot.  About  1800. 


Height,  6%  inches. 


598  —  Cylindrical  Vase. 


Kishiu 


pottery,  covered  with  a  rich  dark  green,  brown,  and  yellow  glaze.  Impressed 
mark  of  Kai-raku-yen.  About  1800. 

Height,  7^  inches. 


599  —  Old  Karatsu  Bottle. 

With  short  neck.  Coated  with  a  pale  buff  and  gray  crackled  glaze.  About  1700. 

Height,  7  lX-  inches. 


600  —  Old  Banko  Vase. 


Bottle  shaped.  Raised  decoration  of  flowering  vines,  and  covered  with  pale  brown,  blue, 
and  red  glaze.  Impressed  mark  Banko  at  base.  About  1800. 

Height,  10 1/(  inches. 

601  —  Water  Jar. 


Old  Takatori,  invested  with  a  metallic  black  and  brown  glaze  under  a  thick  white 
crackled  glaze.  Thread  lines  at  base.  About  1700. 


Height,  6  inches. 


602  —  Bottle. 


In  shape  of  a  bamboo  root.  Decoration  of  tiger  on  a  rich  brown,  yellow,  and  thick 
white  glaze.  About  1750. 


Height,  9X  inches. 


603  —  Jar. 


Early  Karatsu  stoneware,  covered  with  a  pale  celadon  glaze,  which  is  boldly  crackled. 
About  1750. 


Height,  inches. 


604 —  Old  Seto  Bottle. 


With  bent  mouth.  Crudely  fashioned.  Covered  with  a  pale  blue  glaze  over  a  ground 
of  dark  tea-leaf  color.  About  1700. 


Height,  10  inches. 


605  —  Bottle. 

With  short  neck,  which  is  rimmed  with  silver.  Old  Karatsu  pottery.  Decoration  of 
leaves  incised,  and  filled  in  with  white  mishima  enamel  on  a  ground  of  pale 
gray  crackled  glaze.  About  1750. 


Height,  9  inches. 


006 —  Old  Kutani  Jar. 


Covered  with  a  dark  green  glaze,  and  decorated  with  storks  and  cloud  forms  in  a  lighter 
shade  of  green.  About  1800. 


Height,  5  l/2  inches. 


607  —Jar. 


With  four  loop-shaped  handles  at  the  shoulder,  for  hanging  purposes.  Old  Imbe  stone¬ 
ware,  invested  with  a  red,  yellow,  and  light  gray  glaze.  Seventeenth  century. 

Height,  8j4  inches. 


608  —  Teapot. 

With  iron  top  handle.  Chinese  pottery,  covered  with  a  rich  dark  brown  glaze,  and 
marked  round  the  shoulder  with  blue  splashes.  Impressed  seal  mark  (illegible). 
About  1800. 

Height,  "l%  inches. 


609  —  Flower  Vase. 


Idzumo  pottery,  covered  with  a  yellow  and  green  glaze,  and  small  parallel  lines  incised 
underneath  the  glaze.  About  1800. 


Height,  5  ]/z  inches. 


610  —  Bottle. 

Globular  shape,  with  a  short,  flaring  neck,  which  is  rimmed  with  bronze.  Old  Chinese. 
Flowering  vines  incised  in  relief  under  a  celadon  glaze  of  subdued  tone.  Seven¬ 
teenth  century. 

Height,  inches. 


611  —  Vase. 


With 


flaring  mouth.  Chinese  pottery,  covered  with  a  rich  dark  brown  glaze. 
Seventeenth  century. 

Height,  12^  inches. 


612 —  Old  Banko  Jar. 

Covered  with  a  pale  blue  glaze,  which  has  pink  tints  and  incised  brush  marks  under  the 
glaze.  Early  eighteenth  century. 

Height,  9  inches. 


613 —  Cylindrical  Vase. 

With  wood  cover.  Seto  stoneware,  covered  with  a  cream-white  crackled  glaze,  which 
is  marked  with  drops  of  yellow,  brown,  and  blue.  About  1750. 

Height,  io}4  inches. 

614 —  Brazier. 

Ohi  pottery,  covered  with  a  yellow  glaze.  Decoration  of  howo  birds  and  kiri  leaves 
modelled  in  high  relief  inside  of  a  panel.  Impressed  mark  of  Ohi.  1800. 

Height,  inches. 


615  —  Oviform  Vase. 

Old  Chinese  pottery,  covered  with  a  dull  white  crackled  glaze.  Seventeenth  century. 

Height,  io}4  inches. 


616  —  Jar. 


Raku  green  pottery.  Decoration  of  leaves  carved  in  flat  relief,  and  covered  with  green 
enamel.  Carved  teak  cover.  Eighteenth  century. 

Height,  8 %  inches. 


617  —  Water  Jar. 


With  brown  lacquer  cover.  Old  Takatori  stoneware,  invested  with  a  rich  dark  brown 
and  black  glaze.  Sixteenth  century. 

Height,  6^  inches. 


618 —  Jar. 


Shigaraki  pottery,  covered  with  a  pale  blue  glaze. 


Eighteenth  century. 

Height,  8  inches. 


619  —  Jar. 

With  four  small  loop-shaped  handles  at  the  shoulder,  for  hanging  purposes.  Old  Iga 
pottery  of  hard,  brown,  sandy  texture,  and  covered  with  a  dark  yellow-green  mottled 
glaze.  One  side  of  jar  depressed.  Seventeenth  century. 

Height,  ioj4  inches. 


620  —  Jar. 

Old  Cochin-Chinese  pottery.  Decoration  of  flowers,  beautifully  incised  within  circular¬ 
shaped  panels,  and  covered  with  a  brilliant  green  enamel.  Early  seventeenth 
century. 

Height,  8  yz  inches. 


621  —  Cylindrical  Vase. 

With  handles.  Decoration  of  kingfisher,  reeds,  and  Japanese  poem,  painted  in  a  free¬ 
hand  manner,  and  glazed  with  gray  blue,  and  brown.  Mark  of  Dohachi  incised 
at  base.  Eighteenth  century. 

Height,  io  inches. 


622  —  Statuette. 


Of  a  demon  at  prayer.  Old  Kishiu  pottery,  crudely  modelled,  covered  with  a  beau¬ 
tiful  crackled  glaze  of  purple  and  green.  Early  eighteenth  century. 

Height,  15  inches. 


623  —Jar. 


With  four  loop  handles  at  the  shoulder,  for  hanging  purposes,  covered  with  drops  of 
brown,  green,  and  gray  enamels.  Nineteenth  century. 


Height,  n'/z  inches. 


624  —  Vase. 


With  flaring  mouth  and  animal-head  handles.  Old  Talcatori  pottery.  Decoration  of 
chrysanthemums  modelled  in  relief  under  a  beautiful  glaze  of  brown  with  yellow 
tint.  Seventeenth  century. 

Height,  13  inches. 

625  —  Temple  Pilaster. 

Slender  quadrilateral  shaped.  Old  Chinese  pottery,  covered  with  a  beautiful  glaze  of 
the  true  peacock-blue  type,  and  minutely  crackled  throughout.  The  ends, 
which  are  free  of  glaze,  are  decorated  with  figures  of  animals  and  leaf  patterns 
carved  in  relief.  Eighteenth  century. 

Length,  21  inches  ;  diameter,  \x/2  inches. 

626  —  Jar. 

With  original  cover.  Satsuma  pottery  of  cream-white  crackled  texture.  Finely  painted 
decoration  of  peony  flowers  within  panels,  pencilled  in  red,  green,  and  gold 
enamels;  the  reserve  ground  covered  with  flowering  vines  painted  in  red,  blue, 
purple,  and  gold.  Eighteenth  century. 

Height,  9  inches. 


627  —  hnperial  Vase. 

Graceful  pear  shaped,  flaring  at  mouth.  Satsuma  pottery  of  unusually  fine  texture, 
covered  with  a  brilliant  red  glaze,  over  which  is  a  decoration  of  Awoye  leaf 
scrolls,  painted  in  blue,  gold,  and  green  enamels.  Round  the  neck  are  the 
crests  of  the  Prince  of  Satsuma,  and  the  imperial  kiku  and  kiri  floral  crests, 
pencilled  in  blue  and  gold,  and  encircling  the  base  is  an  embellishment  of  cherry 
blossoms  pencilled  in  red,  blue,  green,  and  gold.  Eighteenth  century.  Has  a 
gold  lacquered  stand,  which  is  finely  decorated. 


Height,  17 inches. 


628  —  Bowl. 


Old  golden  bronze.  Repousse  ornamentation.  Eighteenth  century. 

Diameter,  5  inches. 

629  —  Vase. 

With  tall,  slender  neck.  Murashido  bronze.  Seventeenth  century.  Carved  teak  stand. 

Height,  7  inches. 

630  —  Bottle-shaped  Vase. 

With  handles  in  design  of  animal  heads.  Murashido  bronze.  Decoration  round 
shoulder,  modelled  in  relief.  Eighteenth  century.  Carved  teak  stand. 

Height,  10^  inches. 

631  —  Portable  Stove. 

Antique  Chinese  bronze.  Arabesque  designs  in  relief  casting.  Seventeenth  century. 

Height,  4y£  inches, 

632  —  Bottle. 

With  tall,  slender  neck.  Murashido  bronze.  Red  and  brown  patina.  Eighteenth 
century. 

Height,  10^4  inches. 


633  —  Temple  Gong. 


Old  Japanese  bronze.  Engraved  inscription, 
rector  Bogiu,  at  Yedo,  May,  1825. 


dedicated  to  the  temple  Denchinji,  the 
Diameter,  7  inches  ;  height,  5  inches. 


634 —  Water  Jar. 


With  original  cover.  Old  Hiroshima  bronze, 
in  repousse.  Early  eighteenth  century. 


Medallions  of  symbols  and  leaf  scrolls 
Carved  teak  stand. 

Height,  10%  inches. 


635  —  Flower  Vase  ancl  Stand. 

Japanese  bronze.  Decoration,  representing  running  glaze  on  pottery  and  wave  designs, 
carved  in  relief.  The  stand  is  in  design  of  turbulent  water.  Made  by  To-un, 
and  signed.  Eighteenth  century. 


Height,  9  inches. 


636  —  Hexagonal  Hibachi. 


Panel  decoration  of  pine,  bamboo,  plum  trees,  and  storks,  carved  in  relief.  Has  small 
drawer  in  base.  Eighteenth  century. 


Height,  7  inches. 


637  —  Oblong  Jardiniere. 

Chinese  cloisonne  enamel  on  gilded  bronze.  Profusion  of  peony  flowers  in  various 
enamels  on  a  turquoise-blue  ground.  Mark  of  Tokusei  stamped  at  base. 
Eighteenth  century. 

Height,  inches. 


638  —  Japanese  Bronze  Lamp. 

Made  of  a  baluster-shaped  vase,  the  ground  of  which  is  covered  with  incised  wave 
designs.  The  ornamentation  consists  of  various  panels,  inside  of  which  are 
figures  of  birds  in  gold  inlaying,  and  an  outer  framework  of  bamboo  design.  A 
rich  brown  patina  covers  the  entire  surface.  Made  by  Ziomi  of  Kioto,  and 
signed.  Nineteenth  century. 


Height,  28  inches. 


FOURTH  AFTERNOON'S  SALE 


Wednesday,  January  28th,  1903 


BEGINNING  PROMPTLY  AT  3  O’CLOCK 


Netsukes, 

and 


Japanese  Daggers , 
Cabinet  Objects 


639  —  Five  Carved  Ivory  Netsukes. 

Button  shaped.  “  Palace  Cook,”  carved  by  Ipposai;  “  Manzai  Dancers,”  by  Rauko; 
“Making  New  Year’s  Call,”  by  Kojitsu;  “Mask  Modeller,”  by  Kosai; 
and  “Head  of  Woman,”  by  Masayuki.  All  eighteenth  century  specimens. 

640  —  Six  Carved  Ivory  Netsukes. 

Button  shaped.  “  No  Dancer,”  by  Naosada;  “  Boy  Beating  Drum,”  by  Koget- 
susai;  “  Child  at  Play,”  by  Ipposai;  “  Child  Carrying  Mask,”  by  Kozii. 
Eighteenth  century.  “Child  with  Fans  ”  and  “  Warrior  Writing.”  Nine¬ 
teenth  century. 

641  —  Three  Carved  Ivory  Netsukes. 

Button  shaped.  “  Wrestler  ”  and  “  No  Dancer.  ”  Nineteenth  century.  “Trees  and 
Figures.  ”  Eighteenth  century. 

642  —  Ivory  Netsuke. 

Carved  dragon.  Eighteenth  century. 


643  —  Ivory  Netsuke. 

Mask  of  a  Japanese  woman.  Nineteenth  century. 


644  —  Two  Ivory  Netsukes. 

“Two  Monkeys  after  Chestnuts,”  and  “  Dog  Playing  with  a  Shell,”  by  Okatomo. 
Eighteenth  century. 


645  —  Ivory  Netsuke. 

“  A  Toad  Carrying  a  Man.”  Nineteenth  century. 


646  —  Two  Ivory  Netsukes. 

“Camel.”  Eighteenth  century.  “Fox  and  a  Drum,”  by  Masatoshi.  Eighteenth 
century. 


647  —  Two  Netsukes. 

“  Dog”  and  “  Monkey  Carrying  Basket.”  Eighteenth  century. 

648 —  Two  Ivory  Netsukes. 

“  Quail  and  Millet”  and  “  Conch  Shell.” 


649  —  Two  Ivory  Netsukes. 

“A  Cat  Devouring  a  Mouse,”  by  Isshiusai,  and  “An  Imp  on  Top  of  Drum.” 
Eighteenth  century. 

650  —  Two  Ivory  Netsukes. 

“  God  of  Wind,”  and  “  Deer  and  Man,”  by  Masa-mitsu.  Eighteenth  century. 

651  —  Ivory  Netsuke. 

Group  of  shells.  Eighteenth  century. 


652  —  Two  kVood  Netsukes „ 

Dragons. 

653  —  Three  JVood  Netsukes. 

“  Imp  on  Leaf,”  “Cat  and  Mouse,”  and  “Lion  Coming  Out  of  a  Shell,”  carved  and 
lacquered.  Eighteenth  century. 


654  —  Two  Ivory  Netsukes. 

“  Hotei  inside  of  a  Bag,”  and  “  Daruma.”  Eighteenth  century. 


655  —  Two  Wood  Netsukes. 

“  Falcon  and  Pine  Trees,”  and  “  Woman  and  Bell,”  by  Masakazu.  Eighteenth 
century. 


656  —  Two  Wood  Netsukes. 

“  Catfish,”  carved  and  lacquered,  and  “  Sleeping  Woman,”  by  Keizan.  Eighteenth 
century. 


657  —  Two  Gold  Lacquer  Netsukes. 

“  Manzai  Dancers.”  Eighteenth  century. 


658  —  Ivory  Netsuke. 

“  Peace  Drum  and  Rooster,”  in  gold,  set  in  carved  ivory.  Signed,  Mitsu.  Eighteenth 
century. 


659  —  Ivory  Netsuke. 

“  Quail  and  Millet,”  by  Okatomo.  Eighteenth  century. 


660  —  Three  Wood  Netsukes. 

“  Lion  and  Cub,”  by  Minkoku.  “  Imp  with  Lantern  on  his  Head,”  by  Masanao, 
and  “  Cicada  [insect]  on  Trunk  of  Tree,”  carved  by  Kuanman,  province  of 
Iwami.  Eighteenth  century. 


661  —  Three  Wood  Netsukes. 

“  Mask  of  Monkey,”  by  Hidemasa.  Seventeenth  century.  “  Dragon  and  Clouds,” 
carved  and  lacquered,  by  Masayoshi.  Seventeenth  century.  “Mask,”  by 
Tadatoshi.  Eighteenth  century. 

662  — -  Three  Wood  Netsukes. 

“  A  Seated  Daruma,”  by  Shiumin.  Seventeenth  century.  “Man  Resting  on  a 
Tree  Trunk,”  by  Shoraku,  and  “Horse,”  by  Hokio  Sessai.  Eighteenth 
century. 

663  —  Wood  Netsuke. 


“  Two  Tortoises  on  an  Awabi  Shell,”  by  Tametaka.  Seventeenth  century. 


664  —  Two  Ivory  Netsukes. 

“  Biwa  Fruit, ’’and  “  Mushroom  and  Monkey.”  Eighteenth  century. 

665  —  Two  W ood  Netsukes. 

“  Bamboo  Shoots,”  by  Shozan,  and  “  Mbnkey,”  by  Toyoharu.  Eighteenth  century. 


666  —  Two  Netsukes. 

“  A  Boy  and  Cow,”  by  Tomotada,  and  “  Cow,”  by  Tadakuni.  Eighteenth  century. 

667  —  Wood  Netsuke. 

“  Snake  Coiling  round  a  Tortoise.”  Eighteenth  century. 


668  —  Ivory  Netsuke. 

u  Traveller  on  Horseback,”  by  Shomin.  Eighteenth  century. 

669  —  Ivory  Netsuke. 

“  Mice  round  Bag,”  by  Okatomo.  Eighteenth  century. 


670 —  Three  Netsukes. 

“  Gold  Lacquered  Lion,”  “  Mouse  and  Vegetable,”  by  Shibayana  Yekishiu,  and 
carving  of  a  “  Daruma.  ”  Eighteenth  century. 


671 — Ivory  Netsuke. 

“  Group  of  Three  Jolly  Imps,”  by  Shingioku.  Eighteenth  century. 

672  —  Ivory  Netsuke. 

“  Collection  of  Shells,”  by  Giokuho,  of  Hiroshima. 

673  —  Ivory  Netsuke. 

“Two  Lions,”  by  Anraku.  Eighteenth  century. 

674  —  Ivory  Netsuke. 


“  Goose,”  in  chased  gold,  set  in  carved  ivory  in  openwork  design  of  reeds.  Eighteenth 
century. 


675  —  Wood  Netsuke. 


“  Tiger.”  Eighteenth  century. 

676 — Two  Ivory  Netsukes. 

“  Old  Women.”  Eighteenth  century. 

677  —  Ivory  Netsuke. 

“  Lion  and  Cub,”  by  Giokuyosai.  Eighteenth  century. 

678  —  Ivory  Netsuke. 

“  Young  Warrior.”  Nineteenth  century. 

679 —  Two  Ivory  Netsukes. 

“  Swan,”  and  seated  figure  of  “  Fukusuke.” 

680 —  Two  Netsukes. 

“  Group  of  Wrestlers,”  eighteenth  century,  and  carved  walnut  shell. 

681  —  Ivory  Netsuke. 

“  Lion,”  by  Tomotada.  Eighteenth  century. 

682  —  Ivory  Netsuke. 

“  Tortoise,”  set  in  coral. 

683  —  Ivory  Netsuke. 

“  Peony,”  by  Shiugetsu.  Eighteenth  century. 


684  —  Ivory  Teapot. 

Elaborate  decoration  of  blooming  peonies,  artistically  carved  in  relief.  The  cover  is 
ornamented  with  a  figure  of  a  lion  and  butterflies.  Signed  Masa-mune. 

Height,  inches. 


685  —  Round  Ivory  Box. 

Containing  five  fan  and  drum-shaped  boxes.  The  outer  box  is  decorated  with  butterflies 
and  diaper  patterns,  delicately  pencilled  in  gold  over  a  red  and  green  lacquer 
ground.  The  boxes  inside  are  of  gold  lacquer,  and  exquisitely  decorated. 
Eighteenth  century. 


Diameter,  3  inches. 


686 — Jade  Perfume  Box. 

Flowers  and  symbolical  signs  in  intricate  openwork.  Inside  lined  with  silver.  Eighteenth 
century. 


Diameter,  2|^  inches. 


687  —  Miniature  Vase. 


Shakudo,  shibuichi,  and  red  stippled  bronze.  Birds  and  stream  inlaid  in  silver  and 
gold.  Early  nineteenth  century. 

Height,  4  inches. 


688 — Sword  Guard  ( Tsuba ). 

Silver.  Figure  of  Kwannon  and  a  boy,  in  gold  and  bronze  incrustation,  and  exquisitely 
carved  and  chased.  Wave  design  in  shakudo  inlay;  on  the  reverse,  a  leaping 
carp  in  shakudo.  By  Mori-toshi.  Nineteenth  century. 


689  —  Set  of  Sword  Mounts  ( Fuchi  and  Kashira ). 

Shibuichi.  Kwannon  seated  on  a  rock,  carved  and  chased.  By  Nori-chika.  Early 
nineteenth  century. 


690 — Three  Bronze  Masks. 

Japanese  specimens.  Nineteenth  century. 


691 — Miniature  Silver  Vase „ 

Openwork  basket  design,  carved  and  chased.  Eighteenth  century. 

Height,  3 ]/z  inches. 


692  —  String  of  Ifiro  and  Pouch  Slides. 

Consisting  of  twenty-eight  specimens  in  gold,  silver,  goldstone,  coral,  shibuichi, 
cloisonne  enamel,  ivory,  natural  nuts,  cinnabar  lacquer,  kamakura  lacquer,  and 
agate.  Many  of  them  signed  by  noted  artists. 


693  —  Pouch  and  Pipe  Case. 

Pouch  made  to  imitate  “  mokugio,”  and  elaborately  carved.  Pipe  case  of  carved  horn, 
studded  with  mother-of-pearl  and  ivory. 


694  —Pouch,  Pipe  Case ,  and  Pipe. 

The  pouch  decorated  with  gold  lacquer.  The  pipe  case  of  horn  and  bamboo,  with  relief 
carving  of  figure  of  Tengue  and  cobwebs,  by  Masayuki.  Silver-mounted  pipe. 


695  —  Japanese  Portable  Ink  and  Brush  Holder. 

Silver.  Basket-work  design  in  relief  casting. 


696 — Japanese  Pipe. 

Shakudo  and  silver,  with  butterflies  incrusted  in  gold. 

697  —  Iron  Case  for  Knife. 

Chinese  grass  pattern  in  openwork,  skilfully  wrought,  and  slightly  overlaid  with  gold; 
silver  and  gold  mountings. 


698 —  Japanese  Portable  Ink  Well. 

Wicker-work  design  in  silver  openwork. 

699  — Japanese  Silver  Bracelet. 

Made  of  twenty-three  joints,  on  each  of  which  are  various  diapered  and  brocaded 
patterns  in  gold,  silver,  shakudo,  and  shibuichi  damascenes. 

700 —  Jewel  Case. 

Melon  shaped.  Peony  flowers  and  vines  in  openwork,  and  beautifully  chased;  the 
leaves  are  wrought  gold. 

701  —  Dagger  ( Tanto ) . 

Length  of  blade,  iolJ  inches.  Signed,  Kiyo  or  Sei.  Seventeenth  century.  Scabbard 
is  of  lacquer,  with  decoration  of  grass  and  cloud  forms.  Solid  gold  mountings 
wrought  in  design  of  howo  birds,  kiri  flowers,  and  leaves,  exquisitely  finished  in 
skilful  chasing  over  a  finely  stippled  background.  Signed  by  Manzu,  a  noted 
goldsmith  of  Yedo  (now  called  Tokio).  The  handle  is  of  silver,  ornamented 
with  a  dragon,  tortoise,  and  kirin,  which  are  made  of  gold.  Kodzuka  of  gold 
bears  signature  of  Toshi-nori.  Kogai,  which  is  also  made  of  gold,  bears  signa¬ 
ture  of  Riuseimin.  Bears  the  family  crest  of  Daimio  of  Awa. 

702  —  Dagger  ( Tanto ). 

Length  of  blade,  8  inches.  Signed,  Bishiu,  Osafune  Kiyomitsu.  Dated  24th  year 
of  period  Tembun,  2d  month  (1556  a.d.).  Black  lacquer  scabbard.  Silver 
kodzuka,  silver  kogai,  and  gold  and  silver  menuki.  The  mountings  are  orna¬ 
mented  with  chrysanthemum,  plum,  and  bamboo  in  relief  chasing,  and  are  signed 
To-unshi  Zukin.  The  kogai  and  kodzuka  are  by  Makino  Toshi-tsugu. 

703  —  Dagger  ( Tanto ). 

Length  of  blade,  8sJ  inches.  Signed,  Bishiu,  Osafune  Gorozayemon  no  Kami  Kiyo¬ 
mitsu  Sukesada  tsukuru.  Dated  Tembun  period,  1st  year,  8th  month  (1532 
a.d. ).  Black  lacquer  scabbard,  decorated  with  bamboo,  plum,  and  plants  in 
mother-of-pearl  lacquer.  The  mountings  are  of  gold,  silver,  and  shakudo,  by 
Hankotei. 


704 —  Dagger  {Tanto). 

Length  of  blade,  1 1  inches.  Signed,  Shidsu  Sabro  Kane-uji.  Sixteenth  century. 
Black  lacquer  scabbard,  decorated  with  cloud  forms  in  mother-of-pearl  inlay. 
Gold  and  silver  and  shakudo  mountings,  exquisitely  wrought  in  design  of  peony 
flowers. 

705 —  Japanese  Flute. 

With  gold  lacquer  case.  Polished  black  lacquer,  with  decoration  of  wild  chrysanthe¬ 
mums  pencilled  in  gold.  Silver  mounting,  and  gold  ornament  of  dragon. 
Early  eighteenth  century. 


70G  —  Black  Lacquer  Cabinet. 


Decoration  of  cherry  blossoms  in  yellow  bronze 
of-pearl  inlay.  Has  seven  small  drawers. 


incrustation  on  a  ground  of  mother- 
Handles  and  mountings  of  silver. 


Height,  nyi  inches;  length,  15  inches. 


Miscellaneous  Objects 


707  —  Small  Sung  Vase. 

Oviform.  Coated  with  a  heavy  glaze  of  clair-de-lune ,  which  has  a  pronounced  crackle. 


708 — Oviform  Vase. 

Sung  pottery.  Covered  with  a  monochrome  glaze  of  bleu-de-ciel.  Bat-shaped  handles 
at  shoulder. 

Height,  6  inches. 

709  —  Sung  Bottle-shaped.  Vase. 

Dragon  modelled  in  relief  and  encircling  neck,  heavily  coated  with  a  pale  turquoise- 
blue  glaze,  which  is  minutely  crackled  throughout. 

Height,  7^4  inches. 


710  —  Two  Tea  Caddies. 


Old  Chinese  porcelain,  with  a  decoration  of  landscape,  peony,  and  leafy  scrolls  in 
under-glaze  blue. 


711  — Large  Bowl. 

Old  Canton  sonorous  porcelain, 
glaze  blue. 


Medallion  and  floral  decoration  in  brilliant  under- 

Diameter,  13  inches. 


712 —  Twelve  Plates. 


Japanese  porcelain  of  fine  texture.  Rich  cobalt-blue  borders;  maple  leaves  and  deer 
pencilled  in  coral  red  and  gold. 


Diameter,  7  inches. 


713  —  Five  Cups  and  Saucers. 

Imari  porcelain.  Medallion  and  scroll  decoration  in  under-glaze  blue,  copper  red, 
and  gilding. 


714  —  Seven  Tea  Cups  and  Saucers  and  Cream  Pitcher. 

Wedgwood.  Classical  subjects  modelled  in  relief  in  white  on  a  blue  ground. 


715  —  Bowl  and  Plate. 

Old  crown  Derby  (1780).  Fluted  pattern,  rich  blue  bands,  with  borders  in  gilding. 

716  —  Covered  Bowl  and  Plate. 

Old  crown  Derby  (1780).  Fluted  pattern,  rich  blue  bands,  with  borders  in  gilding. 

717  —  Cups  and  Saucers. 

Old  crown  Derby  (1780).  Similar  to  the  preceding.  Twenty-four  pieces,  consisting 
of  eight  cups  with  handles,  eight  cups  without  handles,  and  eight  saucers. 

718 —  Two  Cups  and  Saucers. 

Old  crown  Derby  (1780).  Ivory-white  texture,  with  decoration  of  vine  and  scroll 
borders  pencilled  in  gold. 

719 —  Individual  Chocolate  Service. 


Capo-di-Monte  soft  paste.  Finely  painted  decoration  of  Pompeii  views,  with  borders 
and  ornaments  in  gilding.  Comprises  tray,  chocolate  pot,  cream  pitcher,  sugar 
bowl,  and  cup  and  saucer. 


720 —  Ten  Salad  Plates. 

Scalloped  edge.  Painted  and  relief  decoration  of  rosebuds,  foliage,  and  butterflies. 

Diameter,  8  inches. 


721  —  Twelve  Dresden  Plates. 

Pure  white  hard  paste.  Sprays  of  tulips  painted  in  green  enamel.  Openwork  borders. 

Diameter,  9  inches. 


722  —  Twelve  Dresden  Plates. 

Pure  white  hard  paste  of  the  Marcolini  period  (1796).  Floral  bouquets  delicately 
painted  in  enamels.  Openwork  basket  pattern  borders. 

Diameter,  9  inches. 


cteen  Dessert  Plates. 

Old  crown  Derby  (1780).  Richly  decorated  flowers  in  medallions.  Blue  and  gold 


borders. 


Diameter,  8  inches. 


724 —  Fifteen  Dinner  Plates. 

Old  crown  Derby,  to  match  the  preceding. 


Diameter,  10  inches. 


725 — Covered  Saucer,  Tureen,  and  Platter. 

Old  crown  Derby,  made  under  Director  Bloor  (1830).  Rich  plumaged  birds  finely 
painted,  in  medallions.  Rich  blue  borders,  and  leaf  scrolls  in  gilding. 


726  —  Oval  Fruit  Dish. 

t  Old  crown  Derby,  made  under  Director  Bloor  (1830).  Rich  plumaged  birds  finely 

painted,  in  medallions.  King’s  blue  borders,  with  leaf  scrolls  in  gilding. 


727  —  Old  Dresden  Chocolate  Pot. 

Pure  white  texture.  Pastoral  subjects  and  floral  sprays  finely  painted  in  rose-color 
'  enamel.  Incised  mark,  Augustus  Rex,  1709-1726. 


728 —  Old  Dresden  Chocolate  Cups  and  Saucers. 

Set  of  six,  to  match  the  preceding.  King’s  period,  1770. 


729  —  Old  Dresden  Tea  Set. 

Consisting  of  teapot,  covered  pitcher,  sugar  bowl,  and  tea  caddy.  Pure  white  texture. 
Finely  painted  decoration  of  pastoral  subjects  and  detached  flowers  in  rose- 
color  enamel.  King’s  period,  1770. 


730  —  Old  Dresden  Tea  Cups  and  Saucers. 

Eleven  pieces,  to  match  the  preceding.  King’s  period,  1770. 


731  —  Old  Dresden  Bowl  and  Tray. 

King’s  period,  1770.  Finely  painted  decoration  of  pastoral  subjects  in  rose-color 
enamel. 


732  —  Pair  Covered  Jars. 

Cylindrical  shape.  Pure  white  porcelain.  Decoration  of  branches  of  pomegranate,  cherry 
blossoms,  chrysanthemum,  and  lilies,  in  brilliant  enamels  and  gilding,  in  the  style 
of  old  Imari.  Coat  of  arms  in  coral  red,  king’s  blue,  white,  and  gilding. 

Height,  5  ]/z  inches. 


733  —  Majolica  Jar. 

Old  Italian.  Oviform.  Decoration  of  medallion  head  and  bold  leaf  scrolls  in  brilliant 
blue,  green,  and  orange-yellow  enamels. 


Height,  10%  inches. 


734  —  Majolica  Water  Jar. 

Old  Italian.  Oviform,  with  twisted  top  handle.  Cream-white  glaze,  with  decoration 
of  medallion  head,  cornucopias  of  fruit,  and  escutcheon  in  dark  blue,  green,  and 
orange  yellow  enamels. 

Height,  ii  inches. 

735  —  Antique  Delft  Garniture. 

Consisting  of  three  hexagonal  oviform  jars  with  covers,  and  two  beakers.  Decoration 
of  pastoral  and  other  subjects  in  cobalt  blue;  flowers  in  red  and  green;  and 
borders  of  leaf  scrolls  worked  in  relief  in  the  paste,  and  enamelled  in  orange 
yellow  and  purple.  Mark  underneath  foot,  initial  K  within  a  C,  pencilled  in 
red. 


736  —  Antique  Delft  Garniture. 

Consisting  of  three  hexagonal-form  covered  jars  and  two  beakers.  Decoration  of 
houses,  lake,  and  figures  in  blue,  green,  brown,  and  orange  yellow.  Mark 
underneath  foot,  “  De  Drie  Klokken,”  1671. 


737  —  Large  Canton  Punch  Bowl. 

Sonorous  texture.  Decoration  of  Chinese  interior  and  garden  scenes  in  brilliant  enamels 
and  gilding.  Borders  and  bands  of  birds,  flowers,  and  fruits  on  gold  ground. 
Carved  teakwood  stand. 

Diameter,  16  inches. 


738  —  Thirteen  Dresden  Plates. 


Pure  white  hard  paste, 
gilt  borders. 


Pastoral  subjects,  finely  painted  in  centres.  Openwork  and 

Diameter,  9^  inches. 


739 —  Thirteen  Old  Sevres  Plates. 

Pate  tendre.  The  decoration  of  floral  medallions,  and  blue,  maroon,  and  gold  borders, 
are  by  the  following  Sevres  decorators:  Bulidon,  Massy,  Niquet,  Paul  Richard, 
Chavaux,  Tandart,  Choisy,  Buteux,  and  Vincent.  Various  marks  of  the  royal 
factory,  dating  from  1783  to  1788. 

Diameter,  10  inches. 


740 —  Three  Large  Imari  Plates. 

Decoration  of  vase  of  flowers  and  leafy  scrolls,  in  brilliant  cobalt  blue  and  coral  red, 
enhanced  by  gilding.  Mark  underneath  foot,  two  circles  and  leaf  symbol,  in 
blue. 


Diameter,  15  inches. 


1375 

1376 


Antique  Silver 


741  —  Five  Old  Dutch  Silver  Salt  Spoons. 

Figure  ornaments  on  handles. 

742  —  Eleven  Dutch  Silver  Teaspoons. 

Apostle  handles. 


743  —  Six  Old  Dutch  Teaspoons. 

Silver  and  gilt.  Mask  head  and  openwork  ornamentation. 

744  —  Three  Dutch  Silver  Spoons. 

One  pierced  pattern. 


745 —  Two  Antique  Dutch  Silver  Spoons. 

One  dated  1790. 

746 —  Two  Old  Dutch  Silver  Spoons. 

Figure  ornament  and  twisted  handles. 

747  —  Two  Antique  Dutch  Silver  Table  Spoons. 

Apostle  figure  ornaments. 


748 —  Three  Old  Dutch  Silver  Sauce  Ladles. 

Handles  surmounted  by  figures  of  saints. 

749  —  Twelve  Old  Dutch  Silver  Spoons. 

Apostle  handles. 


750  —  Antique  Dutch  Silver  Punch  Ladle. 

A  one-mark  coin  of  1686  inserted  in  bowl. 

751  —  Antique  Dutch  Silver  Ladle. 

Coin  of  King  Christian  IV.,  date  1647,  inserted  in  centre  of  bowl. 

752  —  Antique  Dutch  Silver  Punch  Ladle . 

Repousse  bowl.  Chased  handle. 

753  — ■  Antique  French  Spoon. 

Silver  gilt.  Repousse  ornamentation. 

754 —  Three  Antique  Irish  Silver  Spoons • 

Shell  bowls  and  long  pierced  handles.  Hall  mark,  Dublin,  179^ 

755  —  Twelve  Russian  Liqueur  Cups. 

Silver  gilt.  Engraved  and  enamelled  ornamentation. 

756  —  Old  Dutch  Silver  Box. 

Heart  shaped.  Engraved  ornamentation.  Compartment  in  base. 

757  —  Child'’ s  Old  English  Silver  Cup. 

Engraved  initials.  Date  undecipherable. 

758  —  Antique  English  Silver  Milk  Jug. 

Design  of  cow.  Hall  mark,  1761. 

759  —  Antique  Irish  Silver  Box. 

Round  shaped,  with  hinged  lid.  Repousse  cottage  and  trees.  Hall  mark,  1796. 

760  —  Antique  English  Silver  Beaker. 

George  II.  Engraved  floral  and  foliated  scrolls.  Hall  mark,  1729. 

761  — Washington  Centennial  Medal. 

1789  to  1889.  Designed  by  Augustus  St.  Gaudens.  Modelled  by  Phillip  Martiny. 


762  —  Pair  English  Silver  Tea  Caddies. 

Oval  shaped.  Engraved  foliated  bands.  Hall  mark,  1807. 

763  —  Old  Dutch  Silver  Tray. 

Leaf  shaped.  Pastoral  subject  in  repousse ,  and  chased. 


764  —  French  Silver  Sugar  Bowl. 

With  cover  and  two  handles.  Repousse  floral  festoons.  Leaf-shaped  feet. 


765  —  Old  English  Silver  Beaker. 

Bold  repousse  ornamentation.  Hall  mark,  London,  1696. 

766  —  Two  Russian  Silver  Mugs. 

Palm-leaf  and  floral  ornamentation.  Gilt  lined. 

767  —  Antique  English  Sugar  Basket. 

Openwork  floral  and  vine  design.  Hall  mark,  1769.  With  crystal  glass  bowl. 

768  —  French  Silver  Mustard  Pot. 

Empire.  Openwork  and  relief  ornamentation.  Blue  glass  bowl. 

769  —  Antique  French  Silver  Sugar  Bowl. 

First  Empire.  Openwork  and  engraved  ornamentation.  Sapphire-blue  glass  bowl. 

770 — Irish  Silver  Sugar  Basket. 

With  swinging  handle.  Foliated  scrolls  in  openwork.  Sapphire-blue  glass  bowl. 


771 — Antique  Dutch  Silver  Sugar  Bowl. 

Oval  shaped,  with  cover  and  two  handles.  Openwork  and  repousse  ornamentation, 
nymph  and  satyr,  floral  festoons,  and  allegorical  designs.  Blue  giass  bowl. 


772  —  Antique  Dutch  Silver  Sugar  Sifter. 

Urn  shaped.  Engraved  and  repousse  ornamentation. 


773 — Old  India  Silver  Dish. 


Round  shaped.  Bold  repousse  and  chased  ornamentation, 
symbols. 


Buddhistic  and  other 
Diameter,  6  inches. 


774  —  Antique  English  Silver  Tea  Caddy. 

Bold  repousse  ornamentation  of  figures,  cottage,  leaf,  and  shell  patterns.  Hall 
mark,  1765. 


775  —  Pair  Old  English  Tea  Caddies. 

To  match  the  preceding.  Hall  mark,  1765. 


776 — Old  English  Silver  Teapot. 

Globular  shaped,  with  wood  handle.  Floral  ornamentation  in  repousse ,  chased.  Hall 
mark,  1759. 


777  —  Irish  Silver  Loving  Cup. 

With  two  handles.  Repousse  floral  and  fruit  festoons, 
initial  of  maker. 


Gilt  lined.  Hall  mark  and 
Height,  6  inches. 


778  —  Irish  Silver  Sugar  Dish  and  Cover. 

Engraved  and  openwork  ornamentation.  Oval  shaped,  with  two  handles.  Blue  glass 
bowl. 


779 — Japanese  Silver  Teapot. 

With  top  swinging  handle.  Engraved  floral  medallions. 

780  —  English  Silver  Bowl. 

Repousse  ornamentation  of  foliated  festoons  and  fluted  pattern.  Gilt  lined.  Hall 
mark,  1853. 

781  —  Old  Dutch  Silver  Cream  Jug. 

Engraved  ornamentation.  Figures,  foliage,  and  coat  of  arms  in  panels.  Grapevine  band. 


782  —  Antique  Irish  Silver  Sugar  Sifter. 

Repousse  ornamentation.  Hall  mark,  Dublin,  1727. 


783 — Japanese  Silver  Teapot. 

Fluted  pattern.  Enamelled  lid. 

784  —  Antique  Irish  Silver  Large  Bowl. 

Round  shape,  on  tripod  support  of  lion’s  head  and  claw.  Repousse  spiral  ornamenta¬ 
tion.  Hall  mark,  Dublin,  1728. 

t 

785  —  English  Silver  Chocolate  Pot. 

With  side  handle.  Repousse  and  chased  ornamentation. 

786  —  Seventeenth  Century  Jewish  Lamp. 

Silver.  Scandinavian.  Repousse  ornamentation. 

787 — Queen  Anne  Silver  Loving  Cup. 

With  two  handles.  Repousse  ornamentation.  Dated  1709. 

788  —  Old  Hutch  Silver  Bowl. 

Repousse  leaf-pattern  borders  and  band. 


789  —  Antique  English  Silver  Bowl. 

Round,  with  raised  ornaments.  Dated  1768. 


790 —  Old  English  Silver  Teapot. 

Oval  shaped,  with  wood  handles, 
undecipherable. 


Figure  of  dog  surmounting  cover.  Hall  mark 


791  —  Antique  Turkish  Silver  Wine  Bottle. 

Elaborate  repousse  and  chased  ornamentation  of  sacred  flowers,  birds,  and  animals; 
openwork  band  round  foot. 


792  —  Antique  Irish  Silver  Large  Coffee  Pot. 

Elaborate  repousse  ornamentation  of  pastoral  subject,  fruits,  floral  festoons,  and  leaf 
scrolls;  and  engraved  coat  of  arms. 


793  —  Pair  Antique  English  Silver  Sconces. 

Each  for  three  lights.  Bold  repousse  ornamentation.  Dated  1736. 


794  —  Old  English  Silver  Dish  Cross, 

Hall  mark,  1754. 


795 —  Old  Dutch  Silver  Bowl. 

Oval  shaped,  on  foot.  Repousse  ornamentation  of  Biblical  subjects.  Two  openwork 
handles  of  urn  design.  Gilt  lined. 

796 —  Old  English  Silver  Tray. 

Round  shaped,  on  three  feet.  Engraved  floral  scrolls  and  crest.  Leaf-pattern  border. 
Mark,  Queen  Victoria  head. 

Diameter,  10  inches. 

797  — Antique  Irish  Silver  Fruit  Dish. 

Round  shaped.  Repousse  leaf  and  floral  scrolls.  Dated  1742. 

798  —  Antique  Irish  Silver  Fruit  Dish. 

To  match  the  preceding.  Dated  1742. 

799  —  Old  English  Silver  Tray. 

Round  shaped,  on  three  feet.  Engraved  floral  scrolls  and  crests.  Foliated  scroll  edge. 
Mark,  Queen  Victoria  head. 


Diameter,  10  inches. 


800  —  Antique  Dutch  Silver  Tripod  Stand. 


With  vase  holder  in  centre.  Repousse  ornamentation  of  cupids,  mask,  and  floral  and 
leaf  scrolls. 


801 — Antique  English  Silver  Loving  Cup. 

Low,  round  shape,  with  two  handles.  Repousse  bands  of  leaf  designs.  Dated  1765. 


802 — • English  Silver  Round  Tray. 

Repousse  and  chased  centre,  and  foliated  scroll  edge. 


Diameter,  n  inches. 


803  —  Antique  Irish  Silver  Rowid  Tray. 

On  three  feet.  Chased  floral  and  leaf  scrolls,  and  coat  of  arms.  Scroll  edge. 


804 — Pair  Antique  Irish  Silver  Tall  Candlesticks. 

Repousse  leaf  and  other  ornamentation. 


805  —  Antique  Dutch  Silver  Oval  Plaque. 


Bold  repousse  ornamentation  of  mythological  subject  in  centre, 
scrolls,  medallions,  and  other  designs. 


and  an  outer  border  of 
Length,  20  inches. 


806  —  Pair  Old  English  Silver  Candlesticks. 

Tall  column  designs.  Repousse  floral  ornamentation.  Dated  1770. 


807  —  Antique  Irish  Silver  Large  Bowl. 

Fluted  pattern.  Gilt  lined.  Dated  1752. 


808 — English  Silver  Oval  Tray. 

With  two  handles.  Engraved  and  repousse  leaf  borders.  Beaded  edge. 

Length,  19  inches. 

809  —  Augsburg  Silver  Flagon. 

Sixteenth  century.  Elaborate  repousse  and  chased  ornamentation  of  historical  subjects 
and  foliated  scrolls.  Cover  surmounted  by  figure  of  a  kneeling  angel  and  a 
helmet.  Gilt  lined. 


810  —  Augsburg  Silver  Flagon. 

Companion  to  the  preceding. 


811  —  Antique  Irish  Silver  Bible  Cover. 

Elaborate  repousse  ornamentation  of  floral  scrolls. 


812  —  Elaborate  Irish  Silver  Epergne. 

With  four  arms  and  five  baskets,  the  larger  one  of  pierced  design.  Mark  of  a  crowned 
harp  and  Hibernia  mask.  1730-1792. 


813  —  Dutch  Silver  Bound  Tray. 

On  six  feet.  Pierced  gallery  border. 


Diameter,  17  inches. 


814  —  Hammered  Copper  Tray. 

Broad  outer  border  of  openwork  leaf  scrolls,  oxydized. 


Length,  24  inches. 


815 —  Twenty-four  Dessert  Knives  and  Forks. 

Silver  gilt.  Blue  and  white  Dresden  porcelain  handles.  With  case. 

Diameter,  23  inches. 


816 —  Twelve  Fruit  Knives. 

English  silver  gilt.  Dresden  porcelain  handles. 


866  855  852  863  840 


916 


944 


917 


AWElson  &.  Cc  .Boston 


FIFTH  AFTERNOON'S  SALE 


Thursday,  January  29th,  1903 

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Antique  Greek  and  Roman 

Glass 


The  well-known  story  of  the  discovery  of  glass  by  nitre  merchants  of  Tyre,  who  accidentally 
fused  some  of  their  merchandise  with  the  sand  of  the  river  bank  on  which  they  were  cooking  their 
dinner,  has  long  since  been  set  aside  as  itself  an  ingenious  but  baseless  invention.  Glass  was  pre¬ 
ceded  and  led  up  to  by  glazed  pottery  and  glazed  stone  in  Egypt,  in  the  neolithic  period,  and  this  art 
of  glazing  followed  upon  that  of  smelting  copper,  the  oldest  colors  in  glazes  and  in  glass  being  copper 
blue,  and  green,  with  violet  from  the  manganese  which  is  found  in  the  copper  one.  These  glazes  pre¬ 
cede  the  historic  period  in  Egypt  on  beads  and  other  small  objects.  Blown  glass  vessels  (Egyptian) 
are  known  from  a  very  early  period.  We  must  assign  to  the  fifteenth  or  sixteenth  century  b.c.  the 
opaque  blue  glass,  the  kyanos  of  the  Homeric  poems,  which  Schliemann  found  set  in  alabaster  to 
decorate  a  frieze  in  the  ruins  of  the  palace  at  Tiryns. 

Throughout  classic  antiquity,  however,  the  great  manufactory  of  glass  was  at  Tyre,  and  it  is 
probably  from  that  neighborhood  that  most  of  the  specimens  in  our  collections  have  been  derived. 
But  antique  glass  of  the  well-known  classic  forms  has  been  found  in  all  parts  of  the  ancient  Roman 
dominions,  from  Britain  to  Syria.  The  light  greenish  glass  marked  by  a  fine  pearly  or  silvery  irides¬ 
cence,  as  in  the  oblong  tubular,  or  candlestick-shaped,  unguentaria,  is  usually  found  in  Greek  tombs 
of  the  fifth  to  the  third  century  b.c.  Moulded  glass,  though  known  to  the  Greeks,  is  more  com¬ 
monly  Roman.  But  moulded  glass  was  also  common  in  Byzantium,  whence  the  art  passed  to  the 
Persians.  Not  the  least  of  the  fascinations  of  glass  collecting  is  that  the  history  of  the  art  is  still, 
comparatively,  a  new  study,  in  which  every  student  may  hope  to  make  discoveries. 


The  splendid  iridescent  colors  that  add  so  much  beauty  to  antique  glass  are  a  consequence  of 
its  flaky  or  scaly  disintegration,  resulting  from  the  action  of  moisture  percolating  through  the  soil  in 
which  it  has  lain  buried.  This  iridescence  is  different  from  the  metallic  reflections  on  modern  glass, 
which  have  been  brought  to  the  highest  perfection  by  an  American  artist.  The  varying  lustres  of 
Persian  and  Hispano-Moresque  pottery  are  of  still  another  kind,  but  a  true  iridescent  disintegration 
of  the  glaze  is  sometimes  found  on  very  ancient  pottery. 

In  the  collection  presented  by  Mr.  Marquand  to  the  Metropolitan  Museum  of  Art  will 
be  found  important  examples,  with  inscriptions ,  of  Greek,  Roman,  and  Byzantine  glass. 


817  —  Three  Small  Unguentaria,  or  Perfume  Bottles. 

One  tubular,  with  conical  bulb  and  flaring  mouth,  of  greenish  glass,  slightly  iridescent. 
Another  similar,  but  with  flattened  rim.  Amber  glass  with  brilliant  violet,  green, 
and  silvery  iridescence.  The  third  has  an  annular  body,  a  swelling  neck,  and 
flattened  rim,  and  is  of  dark  blue  glass  with  a  silvery  iridescence. 

818  —  Small  Unguentarium. 

Club  shaped,  with  flaring  mouth.  Amber  glass  with  rose-colored,  golden,  and  green 
iridescence. 

819  —  S?nall  Jug  [Prochoos) 

Greenish  glass,  the  lower  part  coated  with  brownish  sediment.  It  has  a  flaring  mouth, 
a  handle  connecting  the  mouth  with  the  body,  a  band  in  relief  about  the  neck, 
and  a  flat  bottom. 


820 — Small  Unguentarium  ( Ampulla ). 

Corrugated  to  represent  the  appearance  of  a  dried  date.  Amber  glass,  deepening  to 
a  rich  brown,  with  a  silvery  and  purple  iridescence. 


821  —  Two  Small  Unguentaria. 

One  of  blue  glass,  baluster  shaped,  decorated  with  a  spiral  white  line  on  the  exterior. 
The  other,  amphora  shaped,  with  a  fluted  body.  Purple  glass  with  green,  blue, 
and  purple  iridescence.  One  handle  missing. 


822  — Small  Unguentarium. 

With  conical  body,  short  neck,  and  flaring  mouth.  Very  rich  iridescence  of  silvery 
green,  orange,  and  other  colors. 


823  —  Small  Unguentarium. 

Bulbous  shape.  Dark  blue  glass  with  blue  iridescence. 


824  —  Small  Vase  and  Small  Unguentarium. 

The  former  of  turquoise-blue  glass  with  golden  iridescence.  The  latter,  with  large  body 
and  flattened  rim.  Amber  glass  with  silvery  iridescence. 


825  —  Unguentarium. 

Club  shaped,  with  flaring  mouth.  Amber  glass  with  violet  and  green  iridescence. 

Height,  6^  inches. 

826  —  Small  Prochods. 

With  globular  body  and  wide,  flat  rim.  Greenish  glass  with  slight  iridescence. 


827  — -  Small  Amphora. 

Green  glass  with  brilliant  green,  golden,  and  violet  iridescence. 


828  ■ —  Ampulla. 

Moulded  glass,  in  the  shape  of  two  heads — a  beardless  male  and  a  female  head  (Bacchus 
and  Ariadne).  Mottled  brown  and  white  glass. 

Not  many  of  these  interesting  little  ointment  bottles  are  known.  They'  are 
believed  to  have  been  made  to  be  given  as  wedding  presents. 


829  —  Unguentarium. 

Club  shaped,  with  a  swelling  at  the  base  of  the  neck.  Rich  green  iridescent  glass. 

Height,  4  inches. 


830  —  Small  Vase. 

With  ribbed  handle,  and  rich  golden,  silvery,  and  blue  iridescence. 

831 — Sfnall  Vase. 

With  a  conical  body  and  flattened  rim;  of  deep  blue  glass.  Ornamented  in  the  thickness 
of  the  glass  with  irregular  vertical  streaks  of  white.  It  has  a  green  and  purple 
iridescence  on  the  blue,  silvery  and  coppery  on  the  white. 


832  —  Small  Ewer. 


With  spout  and  handle.  Clear  glass  with  pearly  iridescence.  It  is  ornamented  with 
three  denticulated  ribs  on  the  exterior. 


833  —  Unguentarium. 

With  conical  body  and  broad,  flat  rim.  Greenish  glass  with  pearly  iridescence. 


834  —  Double  Unguentarium. 

With  handles  at  sides  and  top.  Greenish  glass  with  a  pearly  iridescence. 

Height,  to  the  top  of  the  handle,  5^  inches. 


835 —  Double  Unguentarium . 

With  a  handle  at  top.  Decorated  with  a  spiral  filament  on  the  exterior,  and  with  trailed 
glass  connecting  the  body  with  the  projecting  rim.  Olive-green  glass  with  a 
pearly  iridescence. 

Height,  6y£  inches. 


836  —  Bowl. 


Bluish  glass  with  a  silvery  iridescence. 


Height,  inches. 


837  —  Unguentarium. 

With  a  globular  body,  short  neck,  and  flaring  mouth.  Greenish  glass  with  silvery  and 
blue  iridescence. 


838  —  Unguentarium. 

With  long,  swelling  neck  and  flaring  mouth, 
iridescence. 


Greenish  glass  with  violet  and  silvery 


Height,  7 inches. 


839  —  Unguentarium. 


Candlestick  shaped — that  is  to  say,  with  flattened  (sometimes  conical)  body — tall  neck, 
and  flaring  or  flattened  mouth.  Clear  glass  with  pearly  iridescence. 

Height,  8  inches. 

840  —  Vase. 


With  flaring  mouth.  Greenish  glass,  decorated  with  applied  twisted  filaments  of  glass 
trailed  to  form  a  pattern  of  ivy  leaves  and  stems.  Some  small  glass  vases  in  the 
British  Museum,  decorated  with  this  pattern,  were  found  at  Cologne. 

Height,  5^  inches. 


841  —  Unguentarium. 

With  conical  body,  thick  neck,  and  applied  rim.  Greenish  glass  with  silvery  and  green 
iridescence. 


842  —  Two  Single  Unguent  aria. 

Candlestick  shaped,  with  pearly  iridescence. 


Height,  inches. 


843  —  Bowl. 


Amber  glass  with  very  rich  violet,  green,  and  orange  iridescence. 


Width,  4  inches. 


844 —  Unguentarium. 

Candlestick  shaped,  with  pearly  iridescence. 

Height,  ig  inches. 

845 —  Two  XJnguentaria. 

Candlestick  shaped ;  one  with  rich  golden,  the  other  with  blue  and  green,  iridescence. 

Height,  1%  inches  and  6^  inches,  respectively. 

846  —  Unguentarium. 

Candlestick  shaped,  with  rich  pearly  iridescence. 

Height,  7  inches. 


847  —  Phiale. 

Shallow  cup  for  libations.  Ribbed  on  the  shoulder. 

cence. 

Greenish  glass  with  a  slight  irides- 

848 — Two  Unguent  aria. 

Candlestick  shaped,  with  a  pearly  iridescence. 

Height,  7%  inches  and  7j^  inches. 

849  —  Unguentarium. 

Candlestick  shaped,  with  a  pearly  iridescence. 

Height,  7  inches. 

850  —  Two  Unguent  aria. 

Candlestick  shaped,  with  a  pearly  iridescence. 

Height,  7l/%  inches  and  6%  inches. 

851  —  Conical  Bowl. 

Olive-green  glass  with  rich  green  iridescence  on  the  outside,  violet  inside. 

Width,  4^  inches. 

852  —  Dish. 

With  an  umbilicus,  or  boss,  in  the  centre,  and  an  applied  ring  round  the  foot;  the  rim 
turned  up.  Clear  glass,  speckled  all  over  with  a  varicolored  iridescence. 


Width,  8 yz  inches. 

853 — Two  Candlestick-shaped  Unguent  aria. 

With  pearly  iridescence. 

Height,  inches. 

854 — Two  Candlestick-shaped  Unguentaria. 

Similar  to  the  foregoing;  with  pearly  iridescence. 

Height,  7  inches. 


Width,  4X  inches. 


855  —  Deep  Conical  Bowl. 


With  thick  rim  and  very  rich  varicolored  iridescence. 

Width,  4 X  inches. 

856 — Two  Candlestick-shaped  Unguent  aria. 

With  pearly  iridescence. 

Height,  7  inches  and  inches. 

857  —  Phi  ale. 

Similar  to  847.  Ribbed  on  the  shoulder.  Rich  silvery  and  violet  iridescence. 


Width,  4%"  inches. 

858  —  Deep  Bowl. 

With  flaring  rim.  Clear  glass  with  varied  iridescence. 

Width,  3  inches. 

859  —  Unguentarium. 

Candlestick  shaped.  Fine  pearly  iridescence. 

Height,  6^  inches. 

860 — Two  Unguent  aria. 

Similar  to  the  foregoing.  One  slightly  damaged. 

Height,  "]%  inches  and  6  inches. 


861  —  Two  Bowls. 

One  of  greenish  glass,  with  thin  projecting  ribs  on  the  shoulder, 
amber  glass  with  very  rich  iridescence.  Both  damaged. 

The  other,  of  thick 

862 — Two  Candlestick-shaped  Unguentaria. 

With  pearly  iridescence. 

Height,  inches. 

863  —  Tall  Bowl. 

With  four  deep  indentations  in  the  sides,  typical  of  a  form  which  has  been  transmitted 
by  the  Venetians  to  the  present  time.  Varied  iridescence. 


864 —  Two  Candlestick-shaped  Unguentaria. 

With  slight  iridescence. 

Height,  y/2  inches. 

Height,  676  inches. 

865  —  Bottle. 

Thick  glass,  with  a  large  body  and  short  neck.  Very  rich  pearly  and  gray  iridescence. 

Height,  6^4  inches. 


866  —  Bottle. 


Similar  to  the  foregoing,  but  with  a  long  neck  and  more  varied  iridescence. 

Height,  9%  inches. 


867  —  Deep  Dish. 

With  umbilicus  in  the  centre.  Rich  purple  and  green  iridescence.  The  friable,  earthy 
incrustation  should  not  be  removed,  as  it  forms  a  dark  background  which  shows 
up  the  colors  of  the  iridescence. 

Width,  7  yz  inches. 


868  —  Amphora. 

Bluish  glass,  with  a  rich  frosted  golden,  coppery,  and  silvery  iridescence. 

Height,  inches. 


869  —  Bottle. 

Similar  to  865  and  866.  Thick  olive-green  glass,  with  a  very  rich  iridescence  in  blue, 
green,  and  other  colors. 


Antique  Glass 


Persian ,  Spanish ,  Venetian ,  and  French 


The  golden  cup  of  Chosroes  I.,*  set  with  “amethysts,  rubies,  and  emeralds”  of  moulded 
glass,  now  in  the  Bibliotheque  Nationale  at  Paris,  should,  perhaps,  be  regarded  as  a  specimen  of  By¬ 
zantine,  rather  than  of  Persian,  glasswork.  But,  in  any  case,  it  may  be  referred  to  as  a  connecting 
link  between  the  art  in  glass  of  Greece  and  Rome  and  that  of  Mahometan  Persia.  The  latter  was  at 
its  best  from  the  thirteenth  to  the  seventeenth  century.  Towards  the  end  of  the  period  Persian  and 
Arabian  forms  were  copied  in  Venice,  whence  they  were  exported  to  the  Orient,  and,  as  a  conse¬ 
quence,  the  native  manufactures  languished.  It  is  not  difficult,  as  a  rule,  to  distinguish  the  older 
Persian  productions  from  the  Venetian  imitations,  though  in  collections  they  are  often  confounded. 
The  Persian  blue,  which  appears  on  their  faience  and  porcelain,  as  well  as  in  their  glass,  is  of  a  pecu¬ 
liarly  soft  and  pleasing  tone,  which  even  the  Chinese  have  failed  to  successfully  imitate. 

Old  Spanish  glass  was  also  indirectly  affected — through  the  Moors  —  by  forms  of  Persian 
invention.  But  it  is  much  heavier,  and  its  decoration  and  proportions  are  markedly  characteristic. 
It  is  little  known  and  of  great  rarity.  The  British  Museum  has  some  examples,  and  a  few  will  be 
found  in  the  Moore  Collection  in  the  Metropolitan  Museum  of  New  York. 

Good  examples  of  French  seventeenth  century  glass  are  exceedingly  rare,  the  wars  of  the 
Fronde  having  greatly  interfered  with  the  development  of  the  art  in  France. 

A  few  pieces  of  peculiar  shape  and  texture  are  here  classed  as  Rhodian,  following  the  authority 
of  the  late  Dr.  Hall. 


870  —  Small  Goblet. 


Roughly  fluted,  with  a  spiral  twist  to  the  flutings.  Greenish  glass.  Probably  French. 

Height,  2^  inches. 


871  —  Cup. 

With  two  handles. 


Bluish  glass;  handles  of  clear  class.  Venetian. 

Width,  2>lA  inches. 


*  Chosroes  the  reat,  as  he  is  called  by  the  national  historians,  ruled  over  Persia  from  531  to  579  A.D. 


872  —  Bird-shaped  V essel. 

With  openings  at  beak  and  tail.  Three  feet  and  corrugated  projecting  wings.  Thick, 
greenish  glass. 

Length,  4  inches. 

The  form  is  known  chiefly  in  Venetian  glass  of  the  sixteenth  and  seventeenth 
centuries,  when,  as  a  French  traveller  of  the  period  puts  it,  the  Venetians  were 
accustomed  to  drink  “gondolas  and  ships  of  wine,  ...  a  bird,  a  whale,  a  lion,  all 
sorts  of  beasts,  potable  and  non-potable.”  But  the  fancy  soon  spread  to  other  countries. 

873  —  Vase. 

With  four  handles  and  large,  flaring  neck.  Decorated  on  neck  and  body  with  a  spiral 
filament  in  relief,  and  on  the  lower  part  of  the  body  with  an  ornament  character¬ 
istic  of  this  ware,  consisting  of  one  or  more  lines  in  relief,  with  festoons  below, 
and  reversed  festoons  above.  The  handles  are  denticulated.  Spanish.  Sixteenth 
century. 

Height,  inches. 

874  —  Vase. 


With  tall,  flaring  neck, 
glass. 


Decorated  with  a  zigzag  band  in  relief.  Yellowish  clouded 

Height,  6}4  inches. 


875  —  Vase. 

Amber  glass,  with  a  small  handle  attached  to  a  ring  of  darker  color  about  the  lower 
part  of  the  neck,  and  by  a  denticulated  strip  of  the  same  to  the  body.  The  spout 
has  winged  appendages  near  the  mouth.  The  glass  is  rough  and  of  heavy  texture, 
with  striae  and  small  bubbles.  Persian. 

Height,  6  inches. 


876  —  Wine  Glass. 


Of  elegant  shape.  Thin,  clear  glass,  with  a  beaded  stem  and  flat  foot,  Venetian. 

Height,  5%  inches;  diameter,  4 %  inches. 


877  —  Vase. 

With  baluster-shaped  body,  two  handles,  and  flaring  neck,  with  a  spiral  filament  about 
the  neck ;  the  body  decorated  with  a  denticulated  band  in  relief ;  the  base  marked 
with  indentations.  Spanish. 

Height,  6  inches. 


878  —  Ewer. 


With  a  small  handle,  and  winged  appendages  to  the  spout,  as  in  875,  but  of  deep  blue 
glass  bearing  traces  of  a  surface  decoration  in  gold.  Persian. 

Height,  inches. 


879  —  Flask. 

Lenticular,  with  shallow  flutings  running  from  the  neck  part  way  down  into  the  body, 
and  two  small  handles  terminating  in  long  denticulated  strips  attached  to  the 
narrow  sides  of  the  flask.  Greenish  glass,  full  of  small  bubbles,  and  showing  a 
blue  and  green  iridescence.  Spanish. 


Height,  5  yz  inches. 


880  —  Bottle. 


Cylindrical  body.  Decorated  in  lozenge  pattern  in  relief,  blown  in  a  mould.  Clear 
glass.  French.  Seventeenth  century. 

Height,  6y£  inches. 

881  —  Vase. 

With  baluster-shaped  body  and  tall,  flaring  neck.  Decorated  with  a  spiral  filament  in 
relief  and  a  twisted  ring  about  the  lower  part  of  the  neck.  Blue  glass.  Persian. 

Height,  6  inches. 


882 —  Two-handled  Flash,  or  Bottle. 

The  handles  prolonged  into  denticulated  strips. 
Spanish. 


Yellow  glass  with  many  bubbles. 

Height,  5^  inches. 


883  —  Vase. 


With  baluster-shaped  body  and  tall,  flaring  neck. 
Smoky  olive  glass. 


A  rough  band  in  relief  about  the  neck. 

Height,  inches. 


884  —  Ewer. 

With  small  handle  and  winged  appendages  to  the  spout,  similar  to  875,  but  with  a  cir¬ 
cular  foot  added.  Blue  glass.  The  handle  and  the  ring  about  the  neck  of  a  darker 
blue  than  the  body.  Persian. 

Height,  6)4  inches. 

These  forms  are  often  classed  as  Venetian,  but  examples  of  which  the  provenance 
is  known  are  Persian.  See  the  catalogue  of  the  Burlington  Fine  Arts  Club’s  Exhibi¬ 
tion  of  Persian  Art,  1885. 


885  —  Vase. 


With  baluster-shaped  body  and  tall,  flaring  neck.  Light  greenish-yellow  glass.  Persian. 

Height,  6)4  inches. 


886 —  Vase. 


With  two  handles. 


Baluster-shaped  body  and  large,  flaring  neck.  Greenish  glass. 

Height,  6J4  inches. 


887  —  Vase. 


With  baluster-shaped  body  and  tall,  flaring  neck.  Decorated  with  a  spiral  filament  in 
relief  and  a  twisted  band  about  the  neck.  Similar  to  881.  Persian. 

Height,  6 )4  inches. 


888  —  Flower  Glass. 


Of  elongated  bell  shape,  with  a  hollow  stem  and  thick  foot.  Emerald-green  glass. 
Persian. 


Height,  byt,  inches. 


889  —  Ewer. 


Of  Persian  form,  without  a  foot.  Greenish-yellow  glass  with  many  bubbles. 

Height,  inches. 


890  —  Vase . 


With  baluster-shaped  body  and  tall,  flaring  neck.  Greenish-yellow  glass.  Persian. 

Height,  inches. 


891  —  Vase. 


With  four  handles  and  large,  flaring  neck.  The  handles  are  ornamented  with  “  wings,” 
and  denticulated  j  the  body  with  the  characteristic  festoon  ornament  about  the 
shoulder,  and  two  narrow  bands  in  relief  passing  under  the  handles;  the  foot 
indented  spirally.  A  very  interesting  example.  Spanish. 

Height,  inches. 


892  —  Ewer. 


With  a  small  handle,  the  mouthpiece  of  the  spout  lacking.  Olive-green  glass.  Persian. 

Height,  8 %  inches. 


893  — Jug. 

Of  elegant  form,  with  a  small  spout  and  ribbed  handle;  the  body  decorated  with  four 
long  vertical  strips  of  denticulated  glass,  the  base  surrounded  by  a  ring  of  the  same. 
Clear  glass.  Bubbled. 

Height,  inches. 

894  —  Vase. 


With  baluster-shaped  body  and  tall,  flaring  neck.  Two  rings  in  relief  on  the  lower  part 
of  the  neck.  Yellowish-olive  glass.  Persian. 


Height,  8  inches. 


895  —  Ewer. 


With 


flat  foot  and  very  short  neck,  large  handle,  and  long  spout.  Greenish-yellow 
glass,  iridescent.  Persian. 

Height,  1%  inches. 


896  —  Ewer. 


With  baluster-shaped  body  and  tall,  flaring  neck.  The  small  handle  is  attached  to  a 
twisted  band  about  the  neck,  and  prolonged  into  a  denticulated  strip  attached  to 
the  body.  The  spout  has  the  usual  winged  appendages.  Dark  blue  glass,  deco¬ 
rated  on  the  surface  with  flowers  and  leaves  in  gold.  Persian. 

Height,  7^4  inches. 


897  —  Bottle. 


For  sprinkling  rose-water.  With  a  very  long,  tapering  neck  and  a  small  orifice.  A  band 
in  relief  about  the  lower  part  of  the  neck,  and  a  flat  foot.  Clear  glass.  Persian. 

Height,  inches. 

Though  intended  for  sprinkling,  these  bottles  were  sometimes  used  to  drink  out 
of,  as  may  be  seen  in  thirteenth  century  Persian  miniatures.  So  also  were  the  ewers  ; 
but  it  was  etiquette  not  to  touch  the  lips  to  the  spout. 


898  —  Tall  Conical  Bottle. 


Slightly  fluted,  with  an  abortive  handle  pinched  in  the  soft  glass,  and  a  large  moulding 
round  the  short  neck.  Bluish  glass.  Rhodian. 


Height,  inches. 


899 —  Vase. 


With  baluster-shaped  body,  conical  foot,  and  flaring  neck  ;  a  twisted  band  about  the 
lower  part  of  the  neck.  Greenish  glass,  with  large  bubbles,  showing  decided 
iridescence.  Persian. 

Height,  inches. 


900  —Vase. 


With  baluster-shaped  body,  conical  foot,  and  flaring  neck,  similar  to  the  foregoing,  but 
of  amber  glass.  Persian. 


Height,  g]/2  inches. 


901  —  Bottle. 

With  bulbous  body,  conical  foot,  and  long  neck,  terminating  in  a  wide  mouth.  Neck 
and  body  have  fine,  wavy  flutings.  Slightly  greenish  glass,  with  marked  irides¬ 
cence.  Persian. 

Height,  g]4.  inches. 


902  —  Vase. 


With  baluster-shaped  body  and  tall,  flaring  neck.  Blue  glass.  Persian. 

Height,  gY  inches. 


903  —  Bottle. 


With  bulbous  body,  conical  foot,  and  long  neck  terminating  in  a  wide  mouth.  Neck 
and  body  have  fine,  wavy  flutings.  Greenish  glass,  with  slight  gilding. 

Height,  g)/2  inches. 


904—  Vase. 

With  baluster-shaped  body  and  tall,  flaring  neck.  Ornamented  with  a  spiral  filament  in 
relief  about  the  mouth,  and  a  twisted  band  about  the  neck.  Blue  glass,  with 
wavy  lines  of  a  darker  color.  Persian. 

Height,  9 y2  inches. 


905  —  Bottle. 


For  sprinkling  rose-water.  With  very  long,  tapering  neck,  similar  to  897,  but  of  pinkish 
glass.  Persian. 


Height,  g]/2  inches. 


906  —  Tall  Bottle. 


With  bulbous  body,  long,  twisted  neck,  and  broad,  flattened  rim.  Blue  glass  with  very 
marked  iridescence.  Persian. 


Height,  Xij4  inches. 


907  —  Vase. 


With  swelling  body  and  flaring  neck  ;  a  twisted  band  about  the  neck.  Yellowish  glass. 
Persian. 


Height,  9 yi.  inches. 


908  —  Drinking  Vessel. 


Shaped  like  a  segment  of  a  horn,  with  a  spiral  filament 
handle  and  flat  foot.  Spanish. 


in  relief  about  the  top;  a  thick 
Height,  inches. 


909  —  Bottle. 


With  bulbous  body  and  long  neck,  both  marked  with  fine  spiral  (lutings.  Blue  glass, 
with  beautiful  blue  and  green  iridescence.  Persian. 


Height,  io^  inches. 


910  —  Bottle. 

With  bulbous  body,  conical  foot,  and  long  neck,  terminating  in  a  flaring  mouth.  The 
body  was  made  in  two  pieces  joined  by  a  flange  which  projects  into  the  interior. 
Slightly  yellowish  glass.  Persian. 

Height,  12^4  inches. 


911 —  Two-handled  Drinking  Vessel. 

With  a  bulbous  body  and  large,  flaring,  five-lobed  mouth.  Decorated  with  a  fine  spiral 
filament  in  relief.  Greenish  glass  with  minute  bubbles.  Spanish.  (Damaged.) 

Height,  1%  inches. 

912  —  Bottle. 

With  bulbous  body  and  long,  swanlike  neck  twisted  into  a  fine  spiral.  Blue  glass  ; 
iridescent.  Persian. 

Height,  14  inches. 


913  —  Vase. 


With  baluster-shaped  body  and  tall  neck,  with  trumpet-shaped  mouth.  A  spiral  filament 
in  relief  surrounds  the  mouth,  and  a  twisted  band  the  neck.  Blue  glass. 
Persian. 

Height,  9^  inches. 


914  —  Bottle. 

For  sprinkling  rose-water.  With  long,  twisted  tapering  neck.  A  band  in  relief  about  the 
lower  part  of  the  neck,  and  a  flat  foot.  It  is  of  blue  glass  with  a  slight  irides¬ 
cence.  In  the  interior,  at  the  bottom  of  the  bottle,  are  flowers  in  relief,  in  pink, 
blue,  and  white  glass,  a  fancy  which  was  later  copied  by  the  Venetians.  Persian. 

Height,  14  inches. 

915  —  Vase. 

With  tall,  flaring  neck,  bulbous  body,  beaded  stem,  and  nearly  flat  foot.  In  the  interior 
are  flowers  in  relief,  as  in  the  foregoing.  Slightly  yellowish  iridescent  glass. 
Persian. 


Height,  12  inches. 


91 G  —  Bottle. 


With  long,  swanlike  neck,  similar  to  912.  Blue  glass,  slightly  iridescent.  Persian. 

Height,  14 inches. 


917 


Four-handled  Drinking  V. essel. 


With  a  nearly  spherical  body  and  a  large,  flaring,  four-lobed  mouth, 
fine  spiral  filament  in  relief.  Spanish. 


Decorated  with  a 
Height,  gg  inches. 


918  —  Large  Club-shaped  Bottle. 


With  a  knob  of  glass  on  the  inside,  attached  to  the  conical  reentrant  bottom.  Clear 
glass,  slightly  iridescent.  Persian. 


Height,  16  inches. 


919  —  Swan-necked  Bottle. 

With  vertical  mouth.  Similar  to  916,  but  of  yellowish  iridescent  glass.  Persian. 

Height,  17  inches. 

920  —  Fifteen  Small  Pieces  and  One  Large  Fragment  of  Iridescent  Glass. 

Greek,  Roman,  Byzantine. 

921  —  Bracelet. 

Of  eight  beads  of  mosaic  glass.  The  patterns,  zigzags,  flowers,  and  other  ornamentation, 
are  like  those  on  objects  from  Greek  graves  in  the  Fayoum,  of  the  third  and  fourth 
century,  a.d. 


922  —  Small  Scent  Bottle  and  Flask. 

Bottle  of  pressed  glass.  Ornamented  on  the  one  side  with  a  crown  and  three  fleurs-de-lis 
between  crossed  branches;  and  on  the  other,  also  between  crossed  branches,  with 
two  flaming  hearts,  and  a  third  from  which  grows  a  lily  plant  in  flower.  Deep 
blue  glass,  the  mouth  silver  mounted.  France.  Seventeenth  century.  Flask, 
almond  shaped.  Decorated  with  two  strips  of  denticulated  glass  down  the 
sides.  A  Spanish  or  French  imitation  of  an  antique  form. 

A  series  of  five  of  these  pretty  little  flasks,  impressed  with  various  designs,  is  in 
the  Metropolitan  Museum,  where  they  are  classed  as  Venetian.  This  design  is  illus¬ 
trated  by  Gerspach  in  “  l’Art  de  la  Verrerie,”  where  it  is  given  as  ascribed  to  Bernard 
Perrot,  brevetted  by  Colbert  “  Maitre  de  Verrerie  ”  at  Orleans  for  his  inventions  in 
glass-making. 


923  —  Elegant  Small  Vase. 


With 


“  wing  ”  handles,  and  a  conical  neck  tapering  gradually  to  a  band  from  which  it 
opens  out  into  a  flaring  top.  Venetian. 


Height,  5  inches. 


924 — Three  Small  Wine  Glasses. 

Blown  in  a  mould.  Decorated  with  lozenge  pattern ;  with  a  twisted  stem  and  conical 
foot.  Similar  glass  in  the  Musee  de  Cluny  is  classed  as  French  of  the  seventeenth 
century. 

925  —  Small  Barrel. 

To  hold  a  sauce  or  condiment.  It  is  decorated  in  white  and  red  enamel,  on  greenish  glass, 
with  a  scale  pattern  in  lengthwise  stripes,  to  imitate  the  staves  and  the  grain  of  the 
wood.  The  ends  are  hooped  with  corrugated  glass.  It  has  a  biberon  and  handles 
in  light  yellow  glass.  These  enamelled  bardlets  are  usually  classed  as  Venetian 
of  the  sixteenth  or  seventeenth  century. 

Length,  3^  inches. 


926  —  Drinking  Vessel. 

Shaped  like  a  segment  of  a  horn,  flattened  on  the  sides,  and  decorated  with  a  spiral  fila¬ 
ment  in  relief,  and  with  the  double  festoon  about  the  base.  Bright  green 
glass.  Spanish. 

Height,  4 1/2  inches. 

927  —  Flask. 

Almond  shaped,  with  two  handles  prolonged  in  denticulated  bands  along  the  narrow  sides, 
also  with  rings  hanging  free  in  projecting  loops.  There  were  originally  three 
of  these  rings  on  each  side,  but  one  on  each  side  is  missing.  Green  glass. 
Spanish. 

Height,  5^  inches. 


928  —  Drinking  Vessel. 

Shaped  like  a  segment  of  a  horn,  flattened  at  the  sides,  and  with  the  double  festoon  orna¬ 
ment  at  the  bottom.  It  has  had  two  handles,  which  are  lacking.  Bright  green 
glass.  Spanish. 

Height,  inches. 


929  —  Flask. 


Of  almond  shape,  with  “  wing”  handles, 
glass  about  the  shoulder.  Spanish. 


Bears  an  inscription,  “Pilante,”  in  trailed 

Height,  5  ]/z  inches. 


930  —  Small  Barrel. 

With  hoops  of  corrugated  glass.  Enamelled  on  deep  blue  glass  with  a  scale  pattern  in 
red  and  white,  as  in  925.  The  pattern  forms  a  rosette  at  one  end.  It  has  a 
biberon  and  handles  of  blue  glass.  Venetian. 

Height,  4  Yz  inches. 


931  —  Fight-sided  Bottle. 

With  flat  bottom  and  rounded  shoulder.  Amber  glass.  Decorated  in  red  and  white 
enamels  in  a  scale  design  in  vertical  stripes.  Metal  mouthpiece.  Venetian. 

Height,  6  x/2  inches. 


932  —  Deep  Cup. 

Very  heavy  dark  blue  glass,  with  a  flaring  border  and  a  flat  foot,  marked  with  spirally 
arranged  indentations.  Fourteen  small  decorative  handles  connect  the  projecting 
rim  with  the  body  of  the  cup,  which,  near  the  bottom,  is  ornamented  with  the 
double  festoon  decoration.  Spanish. 

Width,  inches. 


933  —  Flask. 


Very  light  amber-colored  glass,  speckled  with  minute  yellow  bubbles.  Rhodian. 

Height,  5%  inches. 


934 — Tall  Conical  Bottle. 


With  reentrant  bottom.  Light  amber-colored  glass.  Rhodian. 


Height,  7  ^  inches. 


935  —  Ewer. 

With  round  body,  S-shaped  spout,  and  angular  handle.  Venetian. 

Height,  inches. 


936  —  Eight-sided  Bottle. 

With  flat  bottom  and  rounded  shoulder.  Decorated  with  a  scale  pattern  in  vertical 
stripes  in  red  and  white  enamel  on  deep  blue  glass,  similar  to  931.  It  has  a 
metal  mouthpiece  with  a  screw  top.  Venetian. 

Height,  inches. 


937  —  Bottle. 

Shaped  like  a  Persian  rose-water  sprinkler,  but  with  a  lipped  mouth  like  an  cenochoe, 
and  having  the  long,  tapering  neck  sharply  constricted  at  its  junction  with  the 
bulbous  body.  Opaque  red  glass  in  imitation  of  jasper.  Rhodian. 

Height,  7%  inches. 


938  —  Ewer. 

Club  shaped,  with  S-shaped  spout  and  handle.  It  is  painted  in  oil  colors  on  the  ex¬ 
terior,  with  a  diaper  pattern  in  gold,  the  spaces  filled  in  with  flowers  in  red  and 
white  on  a  ground  of  blue  gray.  Two  medallions  reserved  for  other  decoration 
are  filled  in  with  gold  paint.  The  glass  is  greenish.  Turkish  or  Persian. 

Height,  8g  inches. 


939  —  Ewer. 

Similar  to  the  foregoing,  and  similarly  decorated,  but  with  the  medallions  bearing  each 
a  crescent  and  three  stars  in  gold.  Turkish,  or  Persian  with  Turkish  decora¬ 
tion. 


Height,  inches. 


940  —  Flask . 


Oblong  oval  shape,  with  two  winged  handles  prolonged  in  denticulated  strips  along 
the  narrow  sides,  and  decorated  on  the  broader  sides  with  radiating  strips  of 
trailed  glass;  probably  a  rough  representation  of  the  palmer’s  shell  embossed  on 
more  ancient  leathern  pilgrim  bottles.  Heavy  green  glass,  full  of  bubbles. 
Spanish. 

Height,  inches. 


941  —  Large  Drinking  Vessel. 

Shaped  like  a  segment  of  a  horn,  with  a  reentrant  bottom,  and  thick  handles  furnished 
with  thumb-pieces.  Decorated  with  a  spiral  filament  in  relief,  and  the  double 
festoon  pattern  at  the  bottom.  Greenish  glass,  bubbled.  Spanish. 

Height,  inches. 


942  —  Large  Goblet. 

With  a  high,  conical,  reentrant  bottom  of  fine  blue  glass.  Decorated  in  colored  enamels 
and  gold  in  a  broad  band  occupied  by  one  circular  and  four  oval  medallions  con¬ 
taining  nude  figure  subjects  derived  from  classical  mythology.  In  the  circular 
medallion  are  a  female  figure  in  a  small  gilded  cart,  and  a  male  figure  with 
a  branch.  In  the  ovals  there  are,  in  the  following  order:  a  female  figure  with  a 
bow  and  arrows  and  a  male  attendant ;  a  female  figure  with  a  bow,  and  a  serpent 
twined  about  a  column ;  a  male  figure  with  a  cornucopia;  and  a  female  figure  with 
a  leaping  dog.  Between  the  medallions  the  decoration  consists  of  water  plants 
in  green,  yellow,  and  red  enamel.  On  each  side  of  the  principal  decoration  are 
jewelled  borders,  with,  beyond  them,  at  top,  one  row  of  pearls  in  white  enamel, 
and  at  bottom  two  rows  disposed  in  triangles.  The  rim  is  in  white  enamel. 
Venetian.  Fifteenth  century. 

Height,  S'A  inches  ;  width,  4  inches. 


943  —  Deep-lobed  Dish. 

Clear 


glass  on  a  large  foot.  Decorated  in  the  glass  with  spirally  disposed  white  fila¬ 
ments  and,  between  them,  bands  of  lacelike  reticelli  work.  Venetian. 

Width,  inches  ;  height,  2lg  inches. 


944  —  Cylindrical  Mosque  Lamp. 

Clear  glass  with  a  horny  texture,  strengthened  by  a  heavy  rib  one-third  of  the  dis¬ 
tance  from  the  top,  on  each  side  of  which  is  a  band  of  decoration  in  gold  and 
enamels,  the  gold  largely  worn  away.  The  decoration  consists  of  Arabic  in¬ 
scriptions  and  conventional  floral  forms  in  blue,  red,  white,  yellow,  and  green, 
with  outer  borders  of  valence  pattern  ornamented  with  flowers  and  leaves  out¬ 
lined  in  red,  and  originally  filled  in  with  gold.  The  inscription  reads  from  right 
to  left:  “El  Malek,  el  alim,  el  alim,  el  alim,”  “The  king,  the  learned,  the 
learned,  the  learned,”  a  customary  dedication  formula.  Arabic.  Fourteenth 
or  fifteenth  century. 

Height,  ioj4  inches. 


945  —  Globular  Mosque  Ornament  for  Suspension. 

Clear,  slightly  greenish  glass,  with  a  broad  band  of  enamelled  inscription  about  the 
middle  in  gold,  outlined  in  red,  interrupted  by  four  circles  in  gold,  barred  across 
with  thick,  red  enamel,  leaving  lozenge-shaped  reserves,  with  borders  of  ara¬ 
besques  in  gold  above  and  below.  The  inscription  reads:  “  One  of  those  made 
by  the  great,  the  exalted  El  Naki,  El  Arjawan;  the  gloiy  be  to  God.”  Egyp¬ 
tian.  Thirteenth  century. 

Diameter,  7^  inches. 

The  lozenge  reserved  on  a  horizontal  bar  is  an  ancient  Cairene  heraldic  device,  like 
the  dagger,  the  crescent,  and  the  cup.  It  is  found  on  fragments  of  pottery  from  the 
Fostat  mounds  (old  Cairo),  now  in  the  British  Museum,  and  was  in  use  during  the 
thirteenth  century  a.d.  From  the  character  of  the  decoration,  this  globe  should  be 
assigned  to  the  early  part  of  that  period. 


946  —  Panel  of  Painted  and  Leaded  Glass. 

Bearing  two  armorial  shields  with  elaborate  scroll  crests,  framed  in  a  motive  derived 
from  Renaissance  architecture,  with,  above,  a  forest  scene  with  hunters  and 
deer,  a  castle  in  the  distance,  and  below,  an  inscription  in  Gothic  characters, 
“  Hannis  im  Thurun  Zu  Schaffhusen, ”  with  a  monogram  and  the  date,  1570. 
German. 

Height,  20  inches  ;  width,  i6p£  inches. 

947  —  Panel  of  Painted  and  Leaded  Glass. 

With  three  shields  armorial,  surmounted  by  a  crown,  and  supported  by  a  lion  and  a 
lioness,  in  an  elaborate  frame  of  Renaissance  architecture.  The  outer  border 
is  composed  of  small  shields  with  the  arms  of  various  German  towns  or 
territories.  Dated,  a.d.  1680.  German. 

Height,  20  inches  ;  width,  16 %  inches. 

947a  —  Large  Panel  of  Stained  Glass. 

By  John  La  Farge.  The  design  is  “Peonies  Blown  in  the  Wind,”  carried  out  in 
richly  colored  and  moulded  glass,  and  framed  in  very  elaborate  borders  of  the 
same.  An  important  early  work  by  the  most  famous  of  living  artists  in  stained 
glass. 

Height,  6  feet  5  inches  ;  width,  3  feet  8  inches. 

“This,  one  oi  my  first  windows,  was  made  in  1878-79.  Part  of  the  glass  is  the 
very  first  of  what  is  called  American  glass,  made  according  to  my  formulas  somewhat 
earlier,  and  which  I  was  the  first  to  make.  Sir  Alma-Tadema  and  Hon.  John  Hay 
have  similar  subjects,  with  variations,  of  course.” — John  La  Farge. 


947b — Two  Antique  English  Panels. 

Painted  and  leaded  glass,  with  modern  borders.  One  has  in  the  centre  a  shield  quar¬ 
tered  with  the  three  fleurs-de-lis ,  which  from  the  end  of  the  twelfth  century 
were  the  royal  arms  of  France,  and  a  Latin  inscription,  Orate  pro  .  .  .  ? 

Each,  height,  4  feet  g  inches  ;  width,  2  feet  4^  inches. 
From  the  Salisbury  Cathedral,  England. 


Greek  Ceramics 


Seventh  to  Third  Century  b.c . 


A  leading  date  to  remember  in  connection  with  Greek  ceramic  art  is  that  of  the  destruction 
by  the  Persians  of  the  old  temple  of  Athene,  on  the  Acropolis  of  Athens,  b.c.  480.  Near  the  founda¬ 
tions  of  the  temple  there  have  lately  been  discovered  many  fragments  of  both  black-figured  and  red- 
figured  vases,  which,  with  other  evidence,  proves  that  the  transition  from  the  first,  the  black-figured 
style,  to  the  red  must  have  begun  a  little  before  that  time ;  that  is  to  say,  about  tbe  end  of  the  sixth 
and  the  beginning  of  the  fifth  century  b.c.  To  this  period  must  be  ascribed  most  of  the  black-figured 
vases  in  the  present  collection.  An  exception  is  the  curious  amphora,  No.  973,  which  belongs  to  a 
small  class  of  archaistic  vases  in  which  the  ancient  style  has  been  imitated  by  later  artists.  Another 
exception  is  the  magnificent  “Corinthian”  vase,  No.  972,  which  should  be  assigned  to  the  seventh 
century  b.c. 

The  most  interesting  of  all  Greek  vase  paintings  are  undoubtedly  those  of  the  transition.  The 
revolution  in  technique,  the  growth  of  artistic  skill,  and  the  class  of  subjects  treated,  all  tend  to  make 
them  so;  and  they  may  be  said  to  reflect  to  some  extent  the  political  importance  of  the  period  which 
witnessed  the  defeat  of  the  Asiatic  invaders  and  the  rise  of  Athenian  power  and  culture.  The  subjects 
are  largely  mythological  or  legendary,  such  as,  about  the  same  time,  furnished  themes  for  tragedy  and 
comedy;  assemblies  of  the  gods,  battle-scenes  from  Homer,  Bacchic  festivities,  adventures  of  Herakles 
and  Theseus — illustrations,  one  might  call  them,  of  all  the  earlier  literature  and  folk-lore  of  Greece. 
During  the  period  the  black  glaze,  at  an  earlier  age  used  for  the  design  only,  as  in  the  “Corinthian  ” 
amphora  just  cited,  was  spread  more  and  more  over  the  body  of  the  vase,  leaving  one  or  two  narrow 
zones  or  broader  panels  reserved  in  the  red  clay  on  which  the  black  figures  could  be  placed.  At  last, 
some  one  ventured  to  bring  the  black  ground  color  close  up  to  the  outlines  of  the  figures,  allowing 
them  to  remain  in  the  red.  In  some  cases  both  styles  of  work  are  found  upon  the  same  vase.  But 
the  innovation  grew  in  favor,  and  by  the  end  of  the  fifth  century  the  red-figured  style  was  predomi¬ 
nant.  This  was  the  moment  of  the  highest  development  of  Greek  art.  Already,  in  some  of  the 
fourth  century  red-figured  vases  we  find  symptoms  of  the  coming  decline.  In  the  third  century  we 
find  vases  with  moulded  reliefs,  or  painted  only  with  carelessly  drawn  ornaments  in  white  or  red 
clay  slip  over  the  glaze,  a  return  to  primitive  methods  of  decoration  which  had  little  but  their 
facility  and  cheapness  to  recommend  them.  Nevertheless,  some  of  these  late  vases  are  distinguished 
for  beauty  of  form. 


The  sombre  coloring  of  most  Greek  vases  has  been  remarked,  but  the  glaze  affords  a  greater 
variety  and  richness  of  color  than  is  generally  supposed.  Its  composition  is  not  yet  understood. 
It  probably  differed  at  different  periods.  In  color  it  varies,  sometimes  on  the  same  piece,  from  a 
fine,  glossy  black,  through  brown  and  olive,  to  red  and  even  orange.  In  addition,  the  painters  had  at 
their  command,  for  over-glaze  colors,  white,  yellow,  red,  and  purple,  which  could  be  slightly  fired; 
and,  in  rare  instances,  the  vase,  whitened  over  most  of  its  surface,  was  painted  with  blue,  violet,  and 
green,  which  were  not  subjected  to  tile  firing  process,  and  which  have,  therefore,  for  the  most  part, 
disappeared.  Two  large  hydrias,  Nos.  977,  978,  represent  this  rare  polychrome  decoration. 

It  is  difficult  to  get  rid  of  a  misleading  term  when  it  has  once  become  generally  accepted. 
Greek  vases  are  still  frequently  called  “  Etruscan  ”  because  certain  early  and  important  discoveries 
of  them  were  made  in  Tuscan  soil.  But  they  have  also  been  found  in  Asia  Minor,  in  Syria, 
Egypt,  Southern  Italy,  as  well  as  at  Athens,  Corinth,  Megara,  and  other  places  in  Greece  proper 
which  it  is  now  certain  were  the  principal  centres  of  the  art.  The  most  noted  Italian  factories 
were  established  by  Greeks  in  Greek  colonies.  Even  the  very  latest  products  of  the  Roman  kilns  in 
Britain  and  in  Gaul  depend  for  whatever  artistic  merit  they  may  possess  upon  the  lasting  and  wide¬ 
spread  influence  of  Greek  taste.  On  the  other  hand,  we  should,  perhaps,  find  a  broader  term  for 
the  vases  called  “Corinthian.”  Though  Corinth  may  have  been  the  chief  seat  of  their  manufac¬ 
ture,  it  can  hardly  have  been  the  only  one,  and  there  is  no  likelihood  that  the  style  originated  there. 


948  —  Lekythos. 


With  anthemion  decoration  in  black,  on  a  buff  ground. 


Height,  inches. 


949  —  Lekythos. 

Decorated  in  black,  on  a  pale  buff  ground.  The  decoration  consists  of  lozenge  and 
checker  patterns  and  a  Greek  fret.  The  word  “KAAOS,”  “beautiful,”  is  in¬ 
cised  on  the  foot. 

Height,  S/4  inches. 


950 — Two-handled,  Vase. 

Red  figured,  with  female  heads,  scrolls,  and  anthemions  reserved  in  the  ground,  other¬ 
wise  covered  with  a  black  glaze.  There  are  traces  of  over-glaze  decoration  in 
white. 

Height,  6^  inches. 


951  —  Oinochoe. 

With  tri-lobed  mouth,  almost  completely  covered  on  the  outside  with  a  lustrous  brownish- 
black  glaze,  over  which  has  been  painted  in  red  slip  a  band  of  ivy  leaves  and 
berries.  A  band  of  pendant  leaves  above  this  has  been  reserved  in  the  red 
ground  color  of  the  vase. 


Height,  7%  inches. 


967 


961 


973 


953 


AW.  Els  on  &  Co,Boston. 

968 


952  —  Prochoos. 


With  two-lobed  mouth.  Decorated  with  a  band  of  freely  executed  anthemions  in  black 
on  a  red  panel,  reserved.  The  remainder  of  the  piece  is  covered  with  a  slightly 
lustrous  black  glaze,  over  which  is  a  ring  of  pearls  in  white. 

Height,  9  inches. 

953  —  Skyphos. 

Black  glazed  inside  and  out,  and  decorated  over  the  black  with  olive  branches  in  red  and, 
between  them,  anthemions  in  white.  The  decoration  much  effaced. 

Height,  inches. 

954 — Kylix. 

Of  fine  red  clay,  covered  with  a  lustrous  black  glaze,  excepting,  inside,  a  circular  re¬ 
serve  at  the  bottom  of  the  cup,  and,  outside,  a  broad  band  of  red  divided  by  a 
black  line  above  the  insertion  of  the  handles,  and  a  narrow  band  below.  The 
uppermost  red  band  is  decorated  in  black  with  two  pairs  of  leopards,  animals 
sacred  to  Dionysos.  From  the  handles  proceed  elegant  small  anthemions,  and 
and  on  a  level  with  them,  twice  repeated,  is  an  inscription  which,  though  un¬ 
grammatical,  may  be  read:  “  XAIPE  KAI  IIIEI  TE  NAI^i.”  “  Hail!  and  drink 
well.”  A  beautiful  example  of  Attic  art  of  the  early  part  of  the  fifth  century, 
b.c.  (One  handle  is  missing;  the  foot  has  been  repaired.) 

Diameter,  inches. 

The  restoration  and  translation  of  the  inscription  are  by  Professor  Wright,  of 
Harvard,  who  has  made  a  special  study  of  these  inscriptions. 


955  —  Small  Red-Jigured  Oil  Vessel. 

For  replenishing  lamps.  In  a  form  derived  from  the  askos,  or  wine-skin.  It  is  covered, 
handle,  spout,  and  body,  except  the  convex  top,  with  a  lustrous,  brownish-black 
glaze,  and  decorated  on  the  reserve  with  two-winged  gryphons  in  black,  with 
details  in  lustrous  red,  due  to  the  glaze  unmixed  with  the  black  pigment. 


956 — Deep  Kylix. 

Black  glazed  within  and  without,  with  vine-leaf  decoration  on  one  side  in  red  over 
the  glaze. 

Diameter,  4'g  inches. 


957  —  Skyphos. 

Red  figured,  with,  under  a  band  of  oves,  a  maiden  with  basket  and  branch,  and  an  at¬ 
tendant  winged  genius.  Necklace  and  wings  are  touched  with  white.  Under 
the  handles  are  anthemion  designs. 

Height,  4 %  inches  ;  diameter,  4l/%  inches. 


958  —  Kylix. 

Of  fine  clay  and  elegant  form,  covered  inside  and  out  with  black  glaze,  except  on  the 
exterior,  at  the  bottom  of  the  bowl.  The  interior  has  a  large  rosette,  with  several 
borders  incised  in  the  clay. 


Diameter,  bx/%  inches. 


959  —  Rhyton. 

Red  figured,  in  the  shape  of  a  deer’s  head.  The  neck  is  decorated,  between  anthemion 
scrolls,  with  a  winged  genius,  holding  a  dish  of  fruits;  above  and  below  this 
are  bands  of  oves.  The  details  of  the  wings,  collar,  and  bracelets  of  the  figure 
and  the  outlines  of  the  rocks  on  which  he  is  sitting  are  white.  The  horns  of 
the  deer  have  been  whitened.  The  handle  has  a  spray  of  olive-leaf  decoration. 
From  Tarentum.  It  is  of  the  early  fourth  century  b.c. 

Height,  from  nose  to  rim,  8*4  inches. 

This  class  of  vessels,  of  which  the  form  is  derived  from  the  drinking-horn,  includes 
the  most  successful  attempts  to  combine  modelled  with  painted  decoration. 


960  —  Rhyton. 

Red  figured,  in  the  shape  of  a  bull’s  head.  The  horns  have  been  whitened,  and  their 
corrugations  are  indicated  with  lines  of  faint  red;  the  ears,  mouth,  and  nostrils 
are  laid  in  with  purplish  slip.  On  the  neck,  between  anthemions,  is  a  winged 
Eros  in  the  red  color  of  the  clay,  with  touches  of  white  and  yellow. 

Height,  from  the  under  part  of  the  head  to  the  rim,  7  inches. 


961  —  P  roc  hods. 

With  two-lobed  mouth,  the  body  in  the  form  of  a  negro’s  head.  Decorated  on  the  neck 
of  the  vase,  in  black  on  the  buff  ground,  with  a  broad  band  of  chevrons 
between  narrow  bands  of  wave  design  above  and  oves  below.  From  Viterbo. 
Attic  workmanship  of  the  fifth  century  b.c. 


962  —  Oinochoe. 

Black  glazed,  with  tri-lobed  mouth  and  graceful,  ribbed  handle,  terminating  on  the  body 
of  the  vessel  in  a  mask,  in  relief,  of  an  old  man.  Campanian.  Third  cen¬ 
tury  B.C. 

Height,  to  the  top  of  the  handle,  10  inches. 


963  —  Large  Kylix. 

Black  figured,  covered  mostly  with  a  fine,  lustrous  black  glaze,  excepting  on  the  out¬ 
side,  at  the  height  of  the  handles,  a  band  of  red,  reserved,  on  which,  in  black, 
are  deer  and  leopards  or  lions  confronted.  There  are  patches  of  lustrous  red, 
the  glaze  unmixed  with  the  black  pigment  on  the  heads  and  necks  of  the  ani¬ 
mals.  The  details  are  incised.  Early  fifth  century  b.c. 

Height,  sX  inches  ;  diameter,  8  inches. 


964  —Vase. 

With  a  handle  for  suspension.  Red  figured  on  black  ground.  The  subjects  are  a  genius 
with  a  wreath  and  mirror,  and  a  figure  wrapped  in  a  cloak,  separated  by  anthe¬ 
mions  and  flowers.  On  the  neck  are  two  female  heads.  Details  are  in  white. 


Height,  to  the  top  of  the  handle,  12^  inches. 


965  —  Lekythos. 

Red  figured  on  black  ground.  An  Eros  or  genius  with  two  wands,  seated  on  a  flower, 
with  very  elaborate  anthemion  and  scroll  decoration.  The  details  are  touched 
with  white. 

Height,  io'/£  inches. 


966  —  Amphora. 

Black  figured,  in  large  panels,  reserved  in  red  from  the  general  glaze  of  lustrous  black. 
The  principal  subject  is  the  Apotheosis  of  Herakles.  Athene  leads  on  Herakles 
by  the  hand;  Hermes  precedes  them  in  the  capacity  of  herald,  and  addresses 
Zeus,  who  is  enthroned  at  the  right.  The  figures  are  distinguished  by  inscrip¬ 
tions,  and  Herakles  wears  his  lion’s  skin,  Hermes  his  winged  boots,  and  Athene 
(A0ENAIA)  her  aegis  and  helmet.  The  subject  is  a  favorite  one  with  the  paint¬ 
ers  of  black-figured  vases.  The  other  panel,  though  much  effaced,  appears  to 
represent  one  of  the  labors  of  Herakles.  The  vase  is  of  the  sixth  or  early 
fifth  century  b.c.  There  are  some  easily  perceptible  restorations  of  the  glaze, 
not  affecting  the  figures.  Found  near  Cervetri.  Attic  workmanship,  sixth 
century  b.c. 

Height,  10%  inches. 


967 —  Amphora . 

Red  figured.  Reserved  from  the  general  glaze  of  lustrous  black  are,  on  the  one  side, 
a  figure  wrapped  in  a  cloak ;  on  the  other,  a  half  nude  female  figure,  seated, 
holding  a  basket  in  the  right  hand,  a  dish  of  fruit  in  the  left.  Phiales  and  a 
fillet  are  suspended  in  the  background;  between  the  figures  are  complicated 
anthemion  scrolls ;  on  the  neck  is  a  band  of  anthemions. 

Height,  14%  inches. 


968  —  Hydria. 

Of  very  elegant  proportions,  of  black,  moulded  ware,  with  reserves  in  red.  The  body 
of  the  vase  is  ribbed;  the  down-turned  lip  has  a  wave  design  in  black  on  red; 
there  are  two  rings  of  red  about  the  foot,  and  a  band  of  olive  branch  in  red, 
applied  over  the  glaze,  surrounds  the  neck. 

Height,  12^  inches. 


969  —  Amphora. 

Red  figured.  On  the  one  side  are  a  nude  male  figure  and  a  female  figure  with  a  bowl; 
on  the  other  are  two  figures  wrapped  in  cloaks,  one  with  a  walking-stick. 

Height,  16^  inches. 


970  —  Amphora . 

Red  figured.  On  the  one  side  is  a  nude  male  figure  holding  an  ornamental  thyrsus  and 
a  bunch  of  grapes,  with  a  Bacchante  carrying  a  basket  of  grapes  and  a  fillet; 
on  the  other,  two  cloaked  figures,  one  with  a  walking-stick,  as  on  the  foregoing 


vase. 


Height,  i6^  inches. 


971  —  Large  Hydria. 

Black  figured.  Covered  with  a  brilliant  black  glaze.  A  large  panel  on  the  shoulder, 
reserved  in  the  lustrous  red  ground  color,  is  painted  with  a  chariot  race  in 
black.  The  drivers  are  clad  in  white  chitons  and  wear  crimson  wreaths.  The 
harness  and  the  manes  and  tails  of  the  horses  are  touched  with  crimson ;  a  dog, 
running  alongside,  has  a  white  collar.  These  colors  are  over  glaze.  Details 
are  incised.  The  panel  is  framed  in  elegant  borders.  (Repaired.) 

Height,  13  inches. 

972  —  Large  Amphora. 

Of  “Middle  Corinthian”  or  “Asiatic”  style.  The  decoration  consists  mainly  of 
five  parallel  zones  of  animals  and  fabulous  creatures  in  black  on  the  buff  ground. 
The  zones  are  separated  by  broad  stripes  of  black,  divided  by  lines  of  red.  The 
animals  figured  are  leopards  (or  lions),  deer,  bulls,  swans,  goats,  and  boars, 
all  drawn  with  much  spirit.  Harpies,  sirens,  and  sphinxes  appear  among  them. 
The  ground  between  the  figures  is  filled  in  with  rosettes,  and  the  neck  of  the 
vase  bears  an  early  form  of  the  double  anthemion  design,  showing  its  derivation 
from  the  Egyptian  water  lily. 

The  effect  of  the  decoration  is  heightened  by  the  use  of  two  tones  of  red; 
the  one  a  purplish  slip  applied  over  the  glaze,  the  other  a  brownish  or  orange 
red,  obtained  by  thinning  the  black  color.  In  part,  this  last  is  accidental.  The 
decoration  is  partly  effaced  on  one  side  of  the  vase. 

The  style  is  supposed  to  be  derived  from  Persian  textiles,  or,  with  more 
likelihood,  from  the  hammered  metal  work  of  the  time  (the  seventh  and  sixth 
centuries  B.c.)  when  the  vase  was  produced.  The  shining  black  figures  would 
represent  the  metal  ornaments  cut  out  a  jour ,  the  buff"  ground  the  wood  upon 
which  they  were  applied,  as  in  the  celebrated  chest  of  Cypselus.  Vases  similar 
to  this  have  been  found  at  Caere  in  Italy,  at  Naucratis  in  Egypt,  and  in  the 
Troad,  as  well  as  at  Corinth;  and  though  the  period  was  one  of  great  colonial 
and  commercial  expansion,  it  does  not  seem  likely  that  all  were  of  Corinthian 
origin.  Found  at  La  Tolfa,  near  Civita  Vecchia. 

Height,  17V  inches. 


973  —  A  mphora . 

Black  figured,  with  cover.  The  body  has  been  whitened  all  over,  but  much  of  the 
white  coating  has  worn  away.  The  decoration  shows  on  the  one  side  a  lyrist, 
crowned,  playing  to  two  admiring  female  listeners;  on  the  other  is  the  combat 
of  Herakles  and  the  Cretan  bull.  An  attendant  figure  holds  the  hero’s  club,  and 
a  female,  the  nymph  of  the  place,  looks  on  ;  a  quiver  full  of  arrows  is  hung  up 
in  the  background.  Graceful  anthemion  and  flower  scrolls  occupy  the  spaces 
under  the  handles.  On  the  neck  is  a  border  of  double  anthemion  design  of  late 
style,  and  another  elaborate  border  surrounds  the  foot.  Details  are  very  boldly 
incised.  The  flesh  parts  of  the  female  figures  are  gray,  the  original  white  coat¬ 
ing  having  worn  off".  The  vase  was  probably  a  prize  for  a  musical  or  poetical 
composition,  and  is  a  good  example  of  the  archaistic  tendencies  of  the  fourth 
century  b.c. 


Height,  to  knob  on  cover,  18  inches. 


974  —  Large  Hydria . 

Black  figured.  The  vase  is  covered  with  a  brilliant  black  glaze,  excepting  a  large  panel 
reserved  in  lustrous  red,  and  divided  into  two  unequal  horizontal  compartments. 
The  largest  of  these  shows  Athene  in  a  two-horse  chariot;  Herakles,  with  his 
lion’s  skin  and  club,  admonishing  her;  and  Hermes  holding  the  horses.  The 
scene  occurs  on  other  vases,  with  alterations,  and  is  supposed  by  some  authorities 
to  have  reference  to  the  celebrated  ruse  of  Peisistratus,  who,  to  justify  his  usur¬ 
pation  of  the  government,  had  himself  accompanied  to  Athens  by  a  handsome 
woman,  who  personated  the  goddess.  It  may  simply  be  a  group  from  a  more 
important  composition  of  the  war  between  the  gods  and  the  giants  (giganto- 
machia)  such  as  is  depicted  on  a  vase  in  the  British  Museum.  In  any  case,  the 
vase  painter,  in  this  instance,  seems  to  intimate  that  the  goddess  might  not  be  able 
to  manage  her  steeds  without  the  assistance  and  counsel  of  the  male  divinities. 

The  face  and  arms  of  Athene  are  white,  the  manes  and  tails  of  the  horses 
purplish  red ;  details  are  incised.  In  the  smaller  compartment  above,  Athene, 
in  a  four-horse  chariot,  separates  two  groups  of  combatants.  Below  the  main 
composition  is  a  narrow  band  with  a  lion  attacking  a  bull. 

Height,  20  inches. 

975  —  Hydria. 

Black  figured.  The  vase  is  nearly  covered  with  a  brilliant  black  glaze,  from  which  a 
large  panel,  bordered  with  ivy  leaves  and  other  designs,  is  reserved  in  lustrous  red. 
The  main  subject  is  a  Dionysian  procession.  Dionysos  mounts  his  chariot,  in 
which  Ariadne  is  already  standing;  he  bears  a  spreading  branch  of  the  vine,  laden 
with  leaves  and  clusters  of  grapes.  A  satyr  follows  the  god  closely,  playing  the 
double  flute;  another  strikes  a  lyre;  a  third,  mostly  hidden  behind  the  horses,  holds 
their  heads.  They  are  of  the  so-called  “  Corinthian  ”  type,  drawn  from  the  actors 
in  the  satyric  drama.  In  earlier  Ionic  paintings  they  have  horses’  legs  and  hoofs, 
as  well  as  tails.  Two  maenads  run  along  at  the  far  side  of  the  horses,  one  hold¬ 
ing  a  bundle  of  small  twigs,  perhaps  an  aspergill ;  the  other  sounding  the  cro- 
tales.  The  animated  composition  is  liberally  enriched  with  colors  applied  over 
the  glaze.  The  beard  and  crown  of  Dionysos  are  purple;  his  ample  himation 
and  Ariadne’s  robes  are  banded  with  purple  ;  the  satyrs  have  purplish  beards, 
crowns,  and  tails  ;  the  horses  have  purple  tails  and  manes.  Ariadne’s  face  is 
gray,  the  original  white  coating  having  been  worn  oft;  but  the  faces  and  arms  of 
the  maenads  are  white,  and  their  black  dresses  are  ornamented  with  purple  disks 
and  stars.  This  striking  coloration  is  not  altogether  fanciful.  Horses’  manes 
and  tails  were  frequently  dyed.  The  satyric  actors  stained  their  bodies  with  lees 
of  wine.  Nor  is  the  picture,  as  a  whole,  without  relation  to  actual  life — at  least 
that  of  the  theatre  and  the  public  festivals.  Allowance  made  for  the  necessary 
conventionality  of  treatment,  which  is  part  of  the  style,  it  may  even  be  said  to 
image  almost  realistically  the  strange  and  fantastic  appearance  which  must  have 
been  presented  by  a  Dionysian  procession,  at  night,  against  a  torch-lit  background. 

Below  the  main  picture  is  a  band  with  boars  and  lions;  above  is  the  combat 
of  Herakles  with  the  Nemean  lion,  watched  by  Athene,  Hermes,  and  other 
divinities.  The  vase  is  of  the  latter  part  of  the  sixth  century  b.c.,  or  the  be¬ 
ginning  of  the  fifth  century.  (Repaired.) 


Height,  17  inches. 


976  —  Large  Hydria. 

Of  buff-colored  clay.  Decorated  with  a  band  of  freely  executed  ivy  design  on  the 
shoulder,  between  the  handles,  and  one  of  olive  about  the  neck.  The  large 
handle  is  twisted. 

Height,  14^  inches. 


977  —  Hydria. 

It  has  been  whitened  all  over,  and  bears  traces  of  decoration  in  white,  blue,  and  red, 
representing  a  twisted  fillet  passed  through  the  handles  and  falling  in  a  festoon 
against  the  side  of  the  vessel. 

Height,  15  inches. 


978  —  Hydria. 

Coated,  like  the  foregoing,  and  painted  in  white,  blue,  and  red  (the  blue  turned  green¬ 
ish),  with  a  fillet  depending  from  the  handles.  The  white  coating  has  scaled  off 
in  places,  exposing  the  red  clay  body  of  the  vase. 

Height,  17%  inches. 


979  —  Hydria. 

Of  reddish-buff  clay,  painted  with  a  band  of  freely  executed  olive  branch  design  on  the 
shoulder,  between  the  handles;  a  wavy  branch  of  the  same  surrounds  the  neck. 
(Repaired.) 

Height  1 S'A  inches. 


Greek  and  Roman  Marble  Sculpture 


980  —  Fragment  of  a  Marble  Votive  Relief. 

A  woman  presenting  a  child,  a  small  building  in  the  background.  Finely  wrought  in 
close-grained  marble.  There  are  traces  of  red  paint  on  the  child’s  dress. 
Mounted  on  a  block  of  oak  covered  with  red  velvet. 

Length  of  fragment,  9^  inches. 

From  Palembino.  The  natural  supposition,  that  this  represents  the  institution 
by  Trajan  of  the  Pueri  Alimentarii ,  is  excluded  by  the  style,  which  is  earlier.  It  prob¬ 
ably  represents  the  presentation  of  a  captured  prince  or  a  hostage. 


981  —  Head  of  a  Satyr,  Crowned  with  Ivy. 

Very  finely  wrought,  with  much  undercutting,  in  fine-grained  marble.  The  back  of 
the  head  is  missing. 

Height,  7  inches. 

982  —  Head  of  Dio/iysos,  Crowned  with  Ivy. 

Finely  wrought  in  marble.  The  nose  has  been  restored.  Mounted  on  a  pedestal. 

Height,  6  inches. 


986 


AW  £lsor.  £  Cc .Boston 


983  —  Archaic  Male  Head. 


In  fine  soft-grained  marble.  With  hair,  indicated  by  wavy  lines,  bound  by  a  fillet, 
three  rows  of  small  curls  over  the  forehead,  high  cheek  bones,  and  prominent 
eyes.  The  nose  is  mutilated;  no  restorations.  Greek.  Late  sixth  or  early 
fifth  century  B.c.  From  the  Villa  Borghese  sale. 

Height,  Syi  inches. 


984  —  Marble  Head  of  a  Triton. 

With  curiously  twisted,  long  locks.  Pergamese  style. 


Height,  2%  inches. 


985  —  Marble  Head  of  Athene. 

Helmeted.  Resembles  the  Giustiniani  Minerva. 

Height,  2  J4  inches. 

986  —  Portrait  Head  of  a  Roman. 

Marble.  Well  executed,  with  much  undercutting  in  the  hair  and  beard.  Mounted  on 
a  pedestal  of  yellowish,  veined  marble.  Period  of  the  Antonines.  From  the 
Villa  Borghese  sale. 

Larger  than  life  size. 


Greek  Terra-cottas 

Fourth  to  Second  Century  b.c. 


987  —  Psyche. 

The  lower  part  of  the  body  is  draped  ;  butterfly  wings  on  shoulders.  She  stands 
leaning  forward,  holding  a  perfume  bottle  in  one  hand,  and  with  the  other 
removing  the  drapery  which  covers  an  urn  placed  on  a  tall  rustic  pedestal. 

Height,  ro  inches. 


988  —  Boy,  Crowned. 

Carrying  a  satchel. 


Height,  4%  inches. 


989  —  Girl  with  a  Pet  Bird  on  Her  Shoulder. 

She  is  seated  on  a  rock,  and  is  offering  a  fruit  to  the  bird.  The  hair  is  tinted  red. 

Height,  7  inches. 

990  —  Girl  Standing. 

With  arms  wrapped  in  her  mantle.  There  are  obvious  traces  of  the  original  coloring — 
the  chiton  blue,  the  peplos  pink,  reddish  hair,  vermilion  shoes. 

Height,  9  inches. 


991  —  Girl  Seated  in  a  Chair. 


Height,  6  inches. 


992  —  Girl  Standing. 


Arranging  her  drapery.  The  hair  is  dark  red. 


Height,  9  inches. 


993  —  Girl  Mourner. 


With  wreath  and  amphora.  Seated  on  a  stone  bench, 
amphora.  The  hair  is  reddish. 

994  —  Girl  Seated  on  a  Rock. 


There  are  traces  of  blue  on  the 
Height,  inches. 


Leaning  sidewise.  The  upper  part  of  the  body  undraped, 
holding  an  ointment  bottle. 


The  right  hand  raised, 
Height,  6  inches. 


995  —  Girl  with  a  Lyre  Seated  on  a  Rock. 

The  head,  gracefully  bent,  looking  down. 


Height,  8^  inches. 


996  —  Girl  Seated,  with  a  Fan. 


The  upper  part  of  the  body  is  nude,  the  legs  crossed  under  the  drapery,  the  right  hand 
raised  as  if  in  surprise.  Reddish  hair. 

Height,  8  inches. 


997  —  Group. 


Of  a  lady  at  her  toilet,  with  an  attendant.  The  former,  seated,  is  regarding 
herself  in  a  mirror,  of  which  the  cover,  which  is  supposed  to  be  on  a  pivot,  is 
pushed  back;  the  latter,  seated  on  the  ground,  is  tying  her  mistress’s  sandal. 
Both  have  reddish  hair. 

Height,  il/2  inches. 

998  —  Group. 

Of  Pan  and  a  nymph.  Pan,  goat-footed,  is  seated  on  the  ground,  and  is  extracting  a 
thorn  from  the  nymph’s  foot.  Height,  8 %  inches. 


A  well-known  expert  thus  writes  from  Rome,  May  3,  1888  :  "I  have  bought  for 
you  a  most  remarkable  group  found  at  Kyme  (y£olis),  representing  a  nymph,  and  Pan 
plucking  a  thorn  from  her  foot.  You  will  be  delighted  with  it.  It  is  one  of  the  most 
beautiful  objects  preserved  to  us  from  antiquity.  The  exquisite  beauty  of  the  nymph 
makes  a  highly  effective  contrast  to  the  characteristic  ugliness  of  Pan.  The  zeal  with 
which  the  latter  applies  himself  to  the  task  is  given  with  notable  humor.” 


999  —  Tall,  Graceful  Fe?nale  Figure. 


Wrapped  in  a  mantle,  wearing  a  hat,  and  carrying  a  fan. 
tinged  with  red. 


The  hair  is  reddish,  the  lips 
Height,  11  inches. 


1000  —  Head  and  Shoulders  of  a  Boy  (Atysf 

Wearing  a  pointed  cap,  the  rjo\o<;-,  with  hair  hanging  loosely.  Coarse  terra-cotta, 
late  Greek  or  Roman.  Found  at  Caysua. 


Height,  14  inches. 


I 


99  2 


993 


990 


1 m 


Antique  Persian  and  Other 
Oriental  Ceramics 

Old  Spanish  Azulejos 


Properly  speaking,  there  is  no  Arabian  art.  The  arts  of  the  mediaeval  East,  like  those  of  the 
West,  were  derived  from  the  common  focus,  Byzantium ;  and,  in  the  East,  the  chief  centre  of 
innovation,  growth,  and  diffusion  was  not  Arabia,  but  Persia. 

Assuming — a  large  assumption — that  the  Arabs  are  to  be  credited  with  that  taste  for  geo¬ 
metrical  combinations  so  marked  in  all  Mahometan  ornament,  and  with  the  picturesque  lettering 
known  by  their  name,  it  was  Persia  that  gave  a  new  life  and  greater  elegance  and  suppleness  to  the 
stiff  Byzantine  forms,  and  it  was  from  Persia  that  the  new  art  radiated  to  Damascus,  Broussa, 
Rhodes,  and  Keirouan.  So  close  is  the  relation  that,  in  many  cases,  it  is  unwise  to  affect  to  dis¬ 
tinguish  the  art  of  these  places  from  the  Persian.  Even  the  very  characteristic  art  of  Moorish  Spain 
shows  unmistakable  evidence  of  Persian  derivation.  But  Persia  has  always  been  a  centre  of  absorp¬ 
tion  as  well  as  of  diffusion.  She  went  to  school  in  ancient  times  to  Chaldaea,  Egypt,  Greece.  After 
the  Moslem  conquest  she  continued  to  learn  of  Constantinople,  of  Egypt,  and  of  India.  The  influence 
of  old  Egyptian  ornament  is  shown  in  the  beautifully  iridescent  vase  (No.  1016)  with  an  Egyptian 
lotus  decoration  in  black  under  the  glaze,  though  the  vase  itself  may  be  contemporary  with  Haroun- 
al-Rashid  and  the  glories  of  the  Arabian  Nights.  It  is  matched,  as  to  technique,  by  pieces  recently 
found  in  Syria  and  in  the  neighborhood  of  Nineveh.  And,  turning  in  the  opposite  direction,  the 
large  turquoise-blue  jar  (No.  1032)  whose  reliefs  of  elephants  and  horsemen  may  have  been  intended  to 
recall  the  deeds  of  Mahmoud  of  Ghazni,  the  conqueror  of  India  and  patron  of  Firdausi,  the  national 
poet  of  Persia,  shows  a  mingling  of  Indian  and  Persian  elements  in  its  decoration. 

The  earliest  dated  Persian  lustre  tiles  are  of  the  thirteenth  century,  according  to  Mr.  Henry 
Wallis;  but  the  art  of  lustre  was  practised  in  Egypt  from  the  eleventh  century,  and  must  have  reached 
Persia  not  long  after  its  discovery.  These  very  early  lustred  pieces  were  golden  or  nacreous  in  tone, 
with  occasional  flashes  of  ruby,  on  a  white  or  pale  yellow  ground,  and  were  probably  intended  as  sub¬ 
stitutes  for  the  gilded  vessels  of  Constantinople.  Omar  Khayyam  may  have  drunk  out  of  one  of  those 
primrose-colored  cups  decorated  with  golden  lustre,  like  the  fragments  unearthed,  in  recent  years, 
near  old  Cairo.  The  star-shaped  and  X-shaped  lustred  tiles  in  the  present  collection  are  of  the 


thirteenth  century  style.  They  are  now  so  rare  in  Persian  mosques  that  they  are  usually  found 
singly,  set  in  the  midst  of  large  panels  of  tiles  of  later  date.  The  larger  mosque  tiles,  with  blue  letters 
in  relief,  which  may  be  from  Anatolia,*  are  probably  a  century  later.  But,  was  it  not  a  peculiarly 
Persian  fancy  to  decorate  with  lustre  the  monumental  tablets  in  commemoration  of  the  dead  (like 
No.  1 158)  which,  following  ancient  usage,  are  in  the  form  of  a  door  to  the  other  world  ?  The  inscrip¬ 
tions  sometimes  refer  to  the  slab  itself  as  the  gate  to  the  garden  of  the  deceased — his  “  paradise.” 

It  is  strange  that  the  Chinese  never  attempted  decoration  in  lustre,  though  they  have  often 
accidentally  produced  it,  and  though  the  intercourse  between  their  country  and  Persia  has  been  long 
and  fruitful.  Genghiz  Khan  is  said  to  have  brought  Chinese  potters  to  Kashan,  and  it  may  be  to  the 
descendants  of  their  Persian  pupils  that  we  owe  the  beautiful  and  exceedingly  rare  Persian  white  por¬ 
celain,  of  which  No.  1004  is  an  example.  The  efforts — childish,  perhaps,  but  certainly  not  slavish — 
to  follow  Chinese  naturalistic  decoration  which  we  find  on  old  Persian  blue  under-glaze,  such  as  the 
curious  landscapes  on  Nos.  1019,  1023,  1028,  and  1031,  are  probably  contemporary  with  the 
Chinese  porcelains  of  the  early  Ming  period ;  and  some  of  the  finer  Persian  porcelains  may  belong  to 
the  period  following  the  reign  of  Shah  Rokh,  when,  in  China,  under  Siounte  and  the  later  Ming,  were 
produced  the  best  porcelains  of  the  farther  East.  If  the  Persians  copied  the  Chinese,  the  Chinese 
also  copied  Persian  patterns  and  glazes,  and  it  is  not  easy  to  determine  whether  the  mosque  globe 
(No.  1011),  comparable  with  the  finest  Chinese  blue  and  white,  and  the  plate  (No.  1008),  with  its 
outer  glaze  of  “  peach-blow”  color,  are  of  Chinese  or  Persian  manufacture. 

Under  Shah  Abbas  (1557—1627)  occurred  the  revival  of  the  Persian  art  of  lustre  to  which 
we  owe  the  lapis-lazuli  bowls  on  which,  in  gardens  of  cypress,  willow,  and  rose,  peacocks  strut  among 
irises  and  tulips,  all  in  sombre  black,  like  a  night  effect  of  a  European  painter,  but  changing,  as  if 
by  magic,  to  sunrise  hues  of  ruby,  emerald,  and  gold. 

Finally,  we  come  to  those  splendid  wall  revetments  of  polychromatic  tiles  from  a  mosque 
in  Constantinople,  f  in  which  Chinese  cloud  scrolls  mingle  with  the  floral  ornamentation  of  the  Per¬ 
sian,  and  the  shaded  enamels  recall  the  practice  of  ancient  Byzantine  decorators.  Some  day  it  will 
be  possible  to  bring  together  in  one  system  the  arts  of  Asia  and  of  the  Mediterranean.  It  will  then 
be  seen  that  the  apparently  divergent  streams  of  descent  have  mostly  run  parallel  when  they  have  not 
intermingled,  and  that,  from  the  early  Middle  Ages  to  the  present  Persia  has  been  one  of  the  most 
important  centres  of  transmission  and  modification.  We  may  then,  also,  be  able  to  distinguish  with 
certainty  between  the  various  national  and  local  schools  of  the  nearer  East,  and  to  trace,  step  by  step, 
the  genesis  of  their  ornamentation.  But  there  are  still  many  gaps  in  our  knowledge  which  must  be 
filled  before  this  can  be  satisfactorily  done. 


Some  of  the  old  Spanish  wall  tiles  from  the  unfinished  palace  of  Charles  V.,  on  the  Alhambra 
hill,  keep,  together  with  their  Moorish  name  (Azulejos),  the  Moorish  lustre.  The  Spaniards  must 
have  introduced  the  art  into  Mexico,  for  it  is  practised  to  this  day  by  Mexican  Indian  potters. 

*  Persian  potters  were  established  there  in  the  fourteenth  century, 
f  Most  likely  of  Anatolian  manufacture. 


1001  —  Bottle. 


White  opaque  glaze.  Decorated  in  brownish  lustre  with  metallic  reflections,  in 
a  pattern  of  leaves  and  flowers  on  the  body,  and  a  conventional  cypress  and 
arcade  pattern  about  the  neck,  which  terminates  roughly  to  receive  a  metal 
mount.  Very  old  Persian,  probably  of  the  thirteenth  century  a.d. 

-  Height,  4  inches. 


1002  —  Flattened  Baluster-shaped  Bottle. 


With  two  small  handles  for  suspension.  With  decoration  of  scrolls  and  foliage  in  blue 
and  black.  The  blue  has  run  into  the  vitreous  glaze. 


Height,  6  inches. 


1003  —  Puzzle  Ewer. 

With  crescent-shaped  mouth  and  S-shaped  handle.  The  foot  is  open  to  the  middle  of 
the  vessel,  and  panels  of  open  reticulated  work  make  it  seem  impossible  that  it 
should  hold  a  liquid.  It  is  decorated  with  blue  and  black.  The  vitreous  glaze 
has  formed  a  drop  depending  from  the  spout. 

Height,  7  inches. 


1004 — Short  Cylindrical  Bottle ,  or  Vase. 


White,  translucent  porcelain,  with  decorations  incised  in  the  paste.  Persian.  Prob¬ 
ably  of  the  fifteenth  or  early  sixteenth  century. 


Height,  4%  inches. 


1005  —  Puzzle  Bottle. 

With  openwork  panels,  like  No.  1003,  with  decoration  in  blue  and  black. 


1006  —  Bowl. 

White  inside,  blue  on  the  exterior.  Decorated  within  with  freely  treated  conventional 
flowers  and  leaves  in  golden  lustre ;  on  the  outside  with  a  peacock  among  trees 
and  flowers,  in  black  lustre,  giving  green  and  golden  metallic  reflections.  Per¬ 
sian.  Sixteenth  or  early  seventeenth  century. 

Diameter,  7^  inches. 

1007  —  Short  Cylindrical  Bottle. 

Similar  to  No.  1001,  but  fitted  with  a  screw  top  in  metal,  the  cap  lacking.  The 
glaze  is  of  a  brownish  white,  and  it  is  boldly  decorated  in  brown  lustre  with 
rich  metallic  reflections.  Very  old  Persian. 

Height,  4%  inches. 


1008  —  A  Deep  Plate. 

Of  translucent  porcelain,  the  inside  covered  with  a  thick  white  glaze,  and  decorated 
with  a  diaper  pattern  incised.  The  outside  has  a  thin  fawn-colored  glaze  of 
the  same  composition  as  the  Chinese  “peach-blow  ”  glaze. 

Diameter,  inches. 


1009  —  Deep  Bowl. 

Decorated  inside  and  out  in  blue,  outlined  with  black,  in  an  arcade  pattern,  and  very 
free  floral  scrolls.  Alternate  panels  of  the  arcade  are  pierced  through  the  paste, 
the  openings  filled  with  the  transparent  glaze.  Persian. 

This  ware,  known  to  Horace  Walpole  as  "Gombroon  ware,”  from  the  name  of 
the  port  on  the  Persian  Gulf  where  was  the  first  depot  of  the  East  India  Company, 
bears  an  obvious  resemblance  to  the  Chinese  “  grains-of-rice  ”  ware.  It  is  a 
question  in  which  country  the  mode  was  invented. 

Diameter,  8X  inches. 


1010  —  Bowl. 

Similar  to  No.  1006.  Enamelled  with  deep  blue  on  the  outside,  white  within.  The 
outer  decoration,  of  rose  bushes,  willow  trees,  etc.,  is  in  black  lustre  with 
varied  jewel-like  reflections;  the  inner,  a  willow  with  drooping  branches,  sur¬ 
rounded  by  detached  flowers  and  arabesques,  is  in  brown  lustre  with  similar 
vivid  reflections  of  ruby,  emerald,  sapphire,  and  gold.  The  greenish  vitreous 
glaze  forms  a  thick  ring  at  the  bottom,  on  the  outside.  Persian.  Sixteenth 
or  seventeenth  century. 

From  the  Bing  Collection. 

Height,  3 Y%  inches;  diameter,  3^  inches. 


1011 — Porcelain  Mosque  Globe. 

To  unite  the  chains  of  a  hanging  lamp.  It  is  ornamented  with  arabesques  and 
simulated  inscriptions  reserved  in  white  from  a  ground  of  the  finest  cobalt. 
Damascan  or  Chinese  (?). 

Diameter,  5^  inches. 


1012  —  Small  Cup. 

Of  porcelain.  Covered  within  with  a  brilliant  white  glaze ;  on  the  outside  with  a  fine, 
deep  blue.  It  is  decorated,  in  copper  lustre  giving  gold  and  ruby  reflections, 
with  the  arcade  and  cypress  pattern  on  the  white  interior,  and  on  the  exterior 
with  vine  leaves  reserved  in  the  blue.  Persian. 

Height,  inches. 


1013  —  Small  Cup . 


Similar  to  the  preceding. 


1014  —  Bowl. 

With  a  thick  body  and  creamy  white  glaze.  Decorated,  in  copper  lustre  with  rich 
purple  reflections,  with  a  band  of  arabesque  pattern,  guilloche  border,  and  free 
foliage  designs.  The  exterior  bears  simulated  inscriptions.  Hispano-Moresque. 

Diameter,  5  y2  inches. 


1015 — Jug. 

Of  light  body  and  creamy  white  glaze.  With  a  design  of  two  birds  alighting  among 
flowers,  in  copper  lustre ;  no  changing  reflections.  Late  Italian  or  Spanish  imi¬ 
tation  of  Hispano-Moresque  ware. 

Height,  inches. 

At  the  beginning  of  the  last  century,  Baron  Charles  Davillier  found  a  single 
furnace  at  Manises,  in  Spain,  still  producing  copper  lustred  ware  after  the  old 
Moorish  designs.  It  is  probable  that  the  art  has  never  entirely  died  out  in  Italy, 
whence  come  most  of  the  genuine  Hispano-Moresque  specimens. 


1016  —  Vase. 

Baluster  formed.  Covered  with  a  thick,  brilliant,  vitreous  glaze,  about  half  of  which 
shows  a  fine  pearly  iridescence  like  that  on  antique  Greek  glass.  Decorated 
under  the  glaze  with  lotus  forms,  in  a  scale  pattern,  in  greenish  black.  A  band 
of  chevrons  surrounds  the  neck,  which  is  broken.  The  design  is  mediaeval — 
Egyptian.  Similar  pieces  have  been  found  in  Syria  and  Mesopotamia.  Probably 
of  the  eighth  or  ninth  century  a.d. 

Height,  inches. 


1017 —  Vase. 

Of  amphora  form,  but  with  the  neck  prolonged  beyond  the  handles.  It  is  decorated, 
in  copper  lustre  without  changing  reflections,  with  birds  alighting  among  flow¬ 
ers,  as  on  No.  1015.  Imitation  of  Hispano-Moresque. 

Height,  11  inches. 


1018 — Bottle ,  or  Sura  he. 

The  mouth  has  been  left  rough,  to  be  finished  in  metal.  The  glaze  is  of  a  fine  deep 
blue  5  the  decoration,  in  black  lustre,  giving  varied  metallic  reflections.  Persian. 

Height,  9%  inches. 


1019  —  Sura  he. 


Of  similar  shape  to  the  foregoing,  but  fitted  with  a  metal  screw  top.  Vitreous  glaze. 
Decoration  in  grayish  blue,  in  free  imitation  of  a  Chinese  landscape  design, 
with  birds,  flowers,  and  deer;  with  imitations  of  Chinese  wave  and  lambre¬ 
quin  borders,  and  upright  panels  of  floral  and  geometrical  decoration  on  the 
neck.  It  is  one  of  the  very  few  Persian  vases  that  bear  a  potter’s  mark  on 
the  bottom.  The  vase  is  slightly  damaged.  Persian. 

Height,  9]/z  inches. 


1020  —  Bowl. 

Of  “Gombroon”  ware.  Alternate  panels  of  the  arcade  decoration  are  pierced  with 
quatrefoil  openings  filled  with  the  transparent  glaze;  the  others  have  rude 
floral  designs  in  black  on  a  blue  ground.  In  the  interior  is  a  floral  scroll  rising 
from  a  rock,  showing  Chinese  influence.  Persian. 


Height,  724"  inches. 


1021  —  Surahe. 


Of  lapis-lazuli  blue,  with  floral  and  other  decoration  in  black  lustre  with  metallic 
reflections.  Persian. 


Height,  12  inches. 


1022  —  Ewer. 


With  dark  blue  body.  Decorated  with  exquisite  floral  designs  in  white,  turquoise,  and 
purplish  brown.  Mounted  in  richly  chased  brass.  Persian. 

Height,  inches. 


1023  —  Surahe. 


Decorated  in  grayish  blue,  with  wild  geese  in  a  landscape,  and  lambrequin  patterns, 
showing  marked  Chinese  influence.  Persian. 


Height,  9  inches. 


1024  —  Deep  Dish. 

With  large  rim.  The  decoration,  of  birds  and  flowers  within,  and  of  flowers  in 
compartments  on  the  outside,  is  in  dark  blue  on  white. 

Diameter,  8  inches. 


1025  —  Dish. 

With  umbilicus  in  centre.  On  the  deep  blue  ground  there  are  within,  radiating, 
cloud-shaped  reserves  with  Cufic  inscriptions  in  black.  On  the  outside  there 
are  very  freely  treated  conventional  leaves  and  plants  in  blue  on  white,  in  the 
manner  frequent  on  Hispano-Moresque  ware.  Persian (?). 

Diameter,  8  inches. 


1026  — Large  Bowl. 

Of  “Gombroon”  ware.  It  is  decorated  in  brown,  with  figures  of  the  fabulous 
simourg,  or  bird  of  paradise,  from  whose  back  rises  a  quatrefoil  panel  with 
cross-shaped  openings  in  the  paste,  filled  with  the  greenish  vitreous  glaze. 
Between  these  are  conventional  cypress  trees  and  floral  scrolls.  The  foot  has 
been  pierced  for  suspension.  Persian. 

Diameter,  8^  inches. 


1027  —  Large  Bowl. 

With  a  charming  decoration  of  carnations  and  other  flowers  in  white,  turquoise,  and 
brownish  purple  on  a  blue  ground.  (Repaired.)  Persian  or  Rhodian. 

Diameter,  io^  inches. 


1028  —  Surahe. 

With  screw  top  and  cap  in  silver  repousse ,  and  chased.  The  body  is  divided  into 
upright  compartments,  with  landscapes  in  grayish  blue,  in  very  free  imitation  of 
Chinese  originals.  Persian. 


Height,  n  inches. 


1029  —  Porcelain  Mosque  Globe. 

For  a  hanging  lamp.  Decorated  in  blue,  pink,  and  green,  with  arabesques  in  black. 
Rhodian  (?). 

Diameter,  inches. 


1030 — Oil  Jar. 

With  thick  glaze,  originally  greenish  white,  but  now  brown  from  percolation  and 
oxidation  of  the  oil  which  the  vessel  once  held.  The  decoration  is  in  blue,  in 
bands  of  checkers,  lozenges,  and  hatchings,  with  an  inscription  in  blue  round 
the  neck. 

Height,  io  inches. 

1031  —  Large  Baluster-shaped  Oil  Jar. 

With  thick  vitreous  glaze,  large  crackle,  and  decoration  in  faint  blue,  of  figures  and 
animals  in  a  landscape.  A  free  imitation  of  the  Chinese.  The  lower  part  is 
discolored  by  oil.  Persian. 

Height,  inches. 


1032  —  Large  Turquoise-blue  Jar. 

Decorated  with  figures  in  flat  relief.  The  surface  is  divided  into  compartments  by 
lines  in  relief,  and  these  are  filled  with  reliefs  of  elephants  with  palanquins, 
horsemen  with  banners,  and  other  figures  riding  grotesque  animals.  The  glaze 
is  very  thick.  Old  Indian  or  Persian,  probably  of  the  eleventh  century. 

Height,  17 %  inches. 


SIXTH  AFTERNOON'S  SALE 


Friday,  January  30th, 


r9°3 


BEGINNING  PROMPTLY  AT  3  O’CLOCK 


Bronzes  and  Other  Metal  PFbrk 


1033  —  Old  Dutch  Oblong  Brass  Box. 


With  rounded  corners  and  hinged  lid.  It  is  engraved  on 
humorous  designs  and  inscriptions. 


cover  and  bottom  with 
Length,  5#  inches. 


1034  —  Bowl  and  Plate. 

Of  white  metal,  artificially  darkened  to  display  the  ornamentation  of  inlaid  silver, 
chiefly  in  rich  floral  patterns,  on  the  inside,  in  medallions  bearing  inscrip¬ 
tions.  Persian. 

Width  of  bowl,  5  inches  ;  width  of  plate,  6^  inches. 


1035  —  Brass  Bowl  with  Cover. 

Engraved  and  inlaid  with  small  turquoises  and  studs  of  polished  copper.  The  orna¬ 
mentation  is  in  three  bands  of  arabesques  and  inscriptions.  A  few  of  the 
turquoise  studs  are  lacking. 

Diameter,  5  yz  inches. 


1036  —  Five  Small  Bas-reliefs  of  Bronze. 

Two  of  a  Bacchanalian  procession  of  cupids  with  a  goat  and  a  basket  of  grapes;  two  of 
a  wedding  of  Cupid  and  Psyche;  and  one  of  cupids  and  young  satyrs  with  a 
baby  Silenus.  They  have  been  soldered  together  to  form  a  small  frieze. 


1037  —  Small  Bronze  Lamp. 


Of  antique  fashion,  for  two  lights;  the  handle  composed  of  twisted  snakes.  On  a 
pedestal  of  yellow  Sienna  and  black  marble. 


Height,  7  inches. 


1038 —  Ewer. 

Of  dark  bronze.  The  lower  part  of  the  body  is  ribbed,  the  upper  part  bearing  in  relief 
a  band  of  elongated  oves.  The  handle  is  formed  of  an  athlete  of  archaic  Greek 
style,  holding  by  the  tails  two  lion  cubs. 

Height,  6 inches. 


1039 —  Two-handled  Bronze  Vase. 


Decorated  in  antique  fashion  with  reliefs  of  Centaur  and  Centauress  with  cupids. 
Mounted  on  a  pedestal  of  variegated  red  and  black  marble. 


Height,  io  inches. 


1040  —  Bowl. 

Engraved  medallions,  alternately  circular  and  oblong,  the  latter  filled  in  with  inscrip¬ 
tions.  The  bottom  of  the  piece  is  covered  with  arabesques  in  compartments, 
the  incisions  being  filled  with  a  dark  color. 

Diameter,  9^  inches. 


1041  —  Bowl. 

Decorated  with  several  bands  of  incised  and  inlaid  ornamentation.  The  principal  band 
has  eight  medallions,  with  figures  of  horsemen  in  silver,  alternating  with  inscrip¬ 
tions  and  conventional  ornaments.  A  narrow  band  near  the  rim  has  figures  of 
hares  and  other  animals  of  the  chase,  and  small  wheel-shaped  ornaments,  which 
last  are  inlaid  in  gold.  In  the  interior  is  a  circular  band  with  fishes.  Persian. 

Diameter,  10^  inches. 


1042  —  Bottle. 


With 


swelling  body,  and  long,  slightly  flaring  neck;  of  iron,  inlaid  with  silver.  Old 
East  Indian.  (Damaged  at  bottom.) 

Height,  12^  inches. 


1043  —  A  Pair  of  Firedogs. 

Japanese  silver  bronze.  In  the  form  of  Buddhist  lions. 


Height,  13  inches. 


1044 — Head  of  a  Young  Roman  Lady. 

In  bronze.  Mounted  on  a  mahogany  pedestal. 


Height,  with  pedestal,  21  inches. 


Height,  31  inches. 


*1045  —  Reproduction  in  Bronze  of  a  Statue  of  a  Dancing  Satyr. 

From  Pompeii. 


*1046  —  Reproduction  in  Bronze  of  an  Antique  Statuette  of  Antinous. 

Height,  25  inches. 

*1047  —  Reproduction  in  Bronze  of  an  Antique  Statuette  of  Victory. 


Mounted  on  a  block  of  variegated  marble. 


Height,  27  inches. 


*1048 — Tall  Orna?nental  Bronze  Tripod. 

Height,  37^  inches. 


*1049  —  Large  Bronze  Tripod. 

Reproduction  of  an  antique  original,  with  a  flat  top  borne  by  winged  sphinxes,  and 
having  a  detachable  ring,  decorated  with  bucranes  and  rosettes. 

Height,  36  inches  ;  width,  24  inches. 


*  These  bronzes  are  reproductions  of  famous  antiques  in  the  Naples  museums,  and  were  procured  by 
the  late  Mr.  Marquand  through  Sir  Frederick  Leighton,  under  whose  supervision  they  were  produced. 


Limoges  and  Other  Enamels 

The  qualities  which  twice  made  the  enamel’s  of  Limoges  famous,  so  that  the  name  of  the 
town  designated  the  ware,  are  not  at  all  those  of  the  painted  enamels  of  the  last  two  centuries. 
These  more  recent  enamels,  charming  as  they  are,  are  but  a  variety  of  miniatures;  but  in  the  Middle 
Ages,  and,  again,  during  the  Renaissance,  Limoges  produced  work  of  a  boldly  decorative  character. 
The  means,  and  the  results  obtained  by  them,  varied  greatly  in  the  two  periods  mentioned.  The 
champlev'e  enamels  of  the  Middle  Ages,  an  important  example  of  which  is  the  lavabo,  No.  1057, 
rely  for  their  effect  upon  the  colored  background,  for  their  significance  upon  the  forms  engraved  in 
the  copper.  In  the  painted  enamels  of  the  fifteenth  and  seventeenth  centuries,  on  the  contrary,  the 
metal  entirely  disappears  from  view,  and  the  design  is  completely  carried  out  in  enamels.  Neverthe¬ 
less,  the  enamels  of  these  two  periods  agree  in  their  decorative  intent.  The  enamellers,  or  “daure- 
diers  ”  of  Limoges,  notwithstanding  the  original  signification  of  their  title  and  the  fact  that  they 
frequently  wrought  on  gold  or  silver,  never  took  kindly  to  such  work,  which  was  a  Parisian  specialty. 
They  required  a  larger  scale,  an  atmospheric  setting,  the  dignity  of  utility.  They  were  accustomed 
to  produce  works  of  considerable  dimensions — tombs,  altar  screens,  reliquaries.  When  fashion 
called  for  precious  materials  and  minute  workmanship,  the  star  of  Limoges  declined,  to  rise  again 
when  a  bolder  and  more  artistic  spirit  was  in  the  ascendant. 

Enamelling  in  the  fashion  called  cloisonne ,  still  practised  in  the  East  and  in  Greece  and 
Russia,  preceded  the  champlev'e  method.  It  was  in  use  in  ancient  Gaul.  A  most  interesting  example 
of  the  style  is  the  Greek  Church  triptych,  No.  1063,  in  which  the  accumulation  of  difficulties, 
which  the  Western  workers  finally  swept  aside,  is  evident.  The  figures  in  these  pieces  of  ancient 
style  are  carved  or  cast  in  solid  metal,  but  the  cloisons  that  retain  the  enamel  are  of  thin  strips 
bent  to  shape  and  soldered  to  the  body  of  the  piece.  The  bending  of  a  metal  so  little  pliable  as 
copper  or  brass,  and  the  carving  or  casting  of  figures  in  high  relief,  were  early  abandoned  in  the  West 
in  favor  of  the  freer  and  simpler  champlev'e  manner,  in  which  the  figures  are  merely  incised,  and  the 
background  cut  away  to  receive  the  enamel.  But  figures  cast  in  full  relief  were  frequently 
affixed,  as  in  the  cross,  No.  1062.  Many  important  works  were  done  in  this  manner.  The  tombs 
of  Walter  Merton,  Bishop  of  Rochester,  and  of  Aymar  de  Valence,  of  Westminster,  were  covered 
with  enamelled  plaques  from  Limoges;  and  in  France,  during  the  thirteenth  and  fourteenth  centuries, 
a  bishop  could  hardly  be  said  to  have  been  decently  buried  if  he  were  not  encased  in  enamel. 

The  artistic  ideals  of  the  Renaissance  brought  about  another  and  more  revolutionary  change. 
The  precious  metals  came  in  vogue  together  with  a  return  to  the  ancient  mode  of  figures  in  relief 
(but  now  rendered  with  adequate  knowledge),  and  these  were  covered  with  translucent  enamels,  which 


1056 


colored  but  did  not  conceal  them,  excepting  the  flesh  parts,  which  at  first  were  left  in  the  metal. 
But  it  was  found  more  pleasing  and  harmonious  to  cover  these  with  opaque  white  enamel,  and,  little 
by  little,  the  opaque  enamels  invaded  the  other  parts,  allowing,  as  they  did,  of  greater  freedom  in 
the  modelling  and  greater  variety  in  the  color.  The  results  are  seen  in  the  precious  little  pictures 
of  the  Seasons,  by  Jean  Penicaud  III.,  and  the  plaques,  by  Leonard  Limousin,  of  the  magnificent  altar 
screen  in  this  collection. 

But  the  transformation  in  technique  did  not  stop  here.  The  habit  of  working  through 
opaque  enamel  to  a  ground  of  another  color,  most  often  black  or  blue,  gave  rise  to  the  school  of 
enamel  painters  in  grisaille,  which  form  became  the  chief  means  of  expression.  From  1520  these 
grisailles  are  of  capital  importance. 

Their  peculiar  beauty  depends  on  the  intimate  union  of  two  distinct  processes — the  loading 
of  the  lights  in  opaque  white  pigment;  the  scraping  down  to  the  black  ground,  as  in  sgraffito  work, 
for  the  outlines  and  the  shadows.  The  former  implies  a  breadth  of  touch  in  the  painting;  the  latter 
a  precision  and  delicacy  in  the  outline,  a  vigor  in  the  accents,  which  are  precisely  the  special  quali¬ 
ties  of  a  fine  grisaille  of  Limoges.  Added  to  these  are  the  grace,  the  magnificence,  the  fancy  of  the 
early  French  Renaissance — for  the  art  hardly  outlasted  the  Valois — and  all  the  varied  interests  of 
the  time  reflected  in  the  subjects  chosen  by  the  painter,  taken  now  from  the  Bible,  now  from 
the  practices  of  the  Church,  again  from  classic  mythology,  or  from  the  labors  of  every-day  life. 
There  are  few  relics  of  the  past  which  present  so  many  claims  to  the  regard  of  the  art  lover  and 
the  connoisseur. 

All  periods  except  the  modern  are  illustrated  in  this  small  but  well-chosen  collection.  The 
Byzantine  triptych  may  stand  for  the  early  cloisonne  work.  At  Limoges,  the  figures  in  relief  were 
first  cast  separately,  and  affixed  to  the  plaques  in  enamel  which  served  for  backgrounds  (or  both 
figures  and  enamels  were  applied  separately  to  a  ground  of  copper  gilt  as  in  No.  1062  of  the  collection)  ; 
but  in  the  later  Middle  Ages  they  were  dispensed  with,  and  their  place  taken  by  figures  simply  en¬ 
graved  in  the  copper;  and  of  this  we  have  an  example  in  the  basin,  or  rather  ewer,  already  cited. 
Finally,  we  have  capital  examples  of  the  earlier  style  of  painted  enamels  in  the  little  plaques  by  Jean 
Penicaud,  and  of  a  later  kind  in  the  important  works  by  Leonard  Limousin,  while  the  last  word 
of  the  ancient  art  of  enamel  painting  is  said  in  the  magnificent  grisailles  by  Pierre  Reymond  and 
other  masters  in  the  collection. 


1050 — Two  Salt-cellars. 

Of  white  enamel.  Each  mounted  on  three  feet,  and  decorated  on  the  exterior  with  lat¬ 
tice  work  and  flowers  in  gold. 

1051  —  Tazza  with  Cover. 

Decorated  inside  and  out  with  mythological  figures  and  ornaments  in  grisaille  and  gold 
on  a  ground  of  rich  black  enamel. 

The  dome-shaped  cover  has  a  pointed  knob  and  four  oval  bosses,  on 
which  last,  within  white  frames,  are  two  female  heads  and  two  male,  one  of 


the  latter  wearing  a  sailor’s  cap,  the  other  a  helmet.  The  black  ground  in 
these  medallions  is  dotted  with  gold.  Between  them  are  four  cupids  in  various 
attitudes,  holding  bunches  of  fruits  and  leaves,  and  sustaining  on  their  heads 
baskets  of  fruits.  The  whole  is  encircled  by  a  wreath  of  laurel  leaves  in 
grisaille,  and,  on  the  outer  rim,  a  guilloche  pattern  in  gold. 

On  the  inside  of  the  cover  the  concave  medallions  bear  four  heads, 
the  beardless  male  heads  wearing,  one  a  helmet,  the  other  a  wreath.  Between 
them  are  arabesques  in  gold,  with,  in  the  centre,  a  blazing  sun.  A  light  wreath 
and  a  guilloche  pattern  in  gold  complete  this  part  of  the  decoration.  It  should 
be  noted  that  the  outside  of  the  cover  bears  in  red  a  shield  with  a  ship  in  white 
and  black — the  arms  of  the  city  of  Paris. 

The  bowl  contains,  in  the  interior,  on  a  black  ground  finely  dotted  with 
gold,  a  circular  composition  of  Jupiter  with  Venus  and  Cupid,  and  Mercury 
stepping  out  of  the  circle,  an  adaptation  from  an  engraving  by  Marc  Antonio 
Raimondi.  On  a  band  of  gray  enamel,  encircling  the  picture,  are  the  figures  of 
the  zodiac  in  grisaille.  Outside  of  this  is  a  rich  border  of  Renaissance  scrolls 
in  gold.  The  rim  is  white. 

The  interior  of  the  hollow  foot  is  dotted  with  gold  stars,  and  has,  at  the 
bottom,  a  gold  rosette.  The  exterior  is  divided  into  four  compartments  by 
heavy  festoons  of  leaves  tied  with  ribbons.  In  the  compartments  are  trophies 
of  musical  instruments,  drums,  bagpipes,  flageolets,  etc.,  depending  from 
bunches  of  leaves.  Acanthus  leaves  of  elegant  design  surround  the  junction 
of  foot  and  bowl,  and  from  those  on  the  bowl  spring  large  foliated  scrolls  in 
gold  which  fill  in  the  interstices  between  the  leaves.  A  wreath  of  laurel  in 
grisaille  forms  an  outer  border.  Signed  and  dated,  “  P.  R.  1555.” 

Height,  to  top  of  cover,  6y£  inches  ;  diameter  of  the  bowl,  6  inches. 

“This  most  beautiful  and  perfect  specimen  is  the  work  of  Pierre  Reymond.” — 
Sir  Charles  Robinson. 

From  the  renowned  collection  of  Hollingworth  Magniac,  Esq.  (known  as  the 
Colworth  Collection),  sold  at  Christie,  Manson  &  Woods,  London,  1892,  at  which 
sale  it  was  bought  for  Mr.  Marquand  by  Sir  Charles  Robinson. 


1052  • —  Three  Small  Enamel  Plaques. 

In  finely  chased  brass  frames,  mounted  on  a  velvet  covered  panel.  The  plaques  repre¬ 
sent  the  Labors  of  the  Seasons.  In  the  central  and  largest,  haymakers  are  at 
work;  an  old  man  with  a  feather  in  his  hat  is  mowing,  a  younger  man  is  sharp¬ 
ening  his  scythe,  a  woman  in  the  background  is  raking.  In  the  right-hand 
plaque  a  man  is  ploughing  with  a  team  of  horses.  In  the  distance  another 
man  is  sowing.  Vine-dressers  are  shown  in  the  left-hand  plaque ;  a  man  with  a 
serpe  is  trimming  a  vine;  an  older  man,  in  shirt  and  boots,  is  planting  a  stake; 
a  third  is  bringing  up  a  bundle  of  stakes  on  his  back.  In  the  distance  is  a 
thatched  cottage.  In  each  scene  a  semicircle  of  clouds  fills  the  upper  por¬ 
tion  of  the  sky,  as  in  the  well-known  little  woodcuts  by  Hans  Sebald  Beham, 
who  may  possibly  have  furnished  the  designs  for  these  plaques. 

These  clouds  are  light  blue,  but  enclose  a  space  of  darker  blue  than 
towards  the  horizon.  The  other  colors  used  are  green,  turquoise,  purple, 


white,  flesh  color,  gray,  a  rich  transparent  red  in  some  of  the  costumes,  and 
gold  of  several  hues  in  the  freshly  turned  furrows,  the  vine-stakes,  and  parts  of 
the  costumes. 

All  three  plaques  are  from  the  Fontaine  Collection.  The  ploughing  scene 
and  the  mowers  were  previously  in  the  Spitzer  Collection,  from  which  they 
passed  to  the  Fontaine  Collection.  All  are  painted  in  transparent  enamels, 
mainly,  over  a  preparation  in  brown  enamel. 

The  dimensions  of  the  largest  plaque,  are:  Height,  2%  inches;  width,  \7/&  inches. 

The  others  are  very  little  smaller. 

Jean  Pdnicaud,  the  third,  to  whom  we  are  to  attribute  these  precious  little  works, 
flourished  in  the  latter  half  of  the  sixteenth  century,  and  is  reckoned  by  de  Laborde 
“  le  talent  superieur  et  la  gloire  du  Limoges .” 

They  bear  at  the  back  the  stamp  of  the  Pdnicaud  atelier. 


1053  — Tazza. 

Decorated  inside  and  out  with  designs  in  grisaille  and  ornaments  in  gold  on  a  black 
ground. 

The  inside  of  the  bowl  is  filled  with  a  composition  of  the  “Judgment  of 
Moses”  (Exodus  xviii.).  Moses,  bearing  a  rod,  is  seated  on  a  throne;  the 
chiefs  of  the  Hebrews  are  grouped  to  right  and  left;  two  sit  on  the  ground  in 
front,  near  a  boy,  who  holds  an  escutcheon  with  part  of  the  inscription,  and 
points  to  the  continuation,  which  runs  along  one  of  the  steps  to  the  throne. 
The  border  is  of  rich  sixteenth  century  arabesques  in  gold.  The  rim  is  white. 

The  hollow  of  the  foot  is  enamelled  white,  sprinkled  with  small  stars  in 
red.  Externally,  the  bell-shaped  foot  supports  a  stem  in  the  shape  of  an  urn. 
On  the  foot,  enclosed  in  a  double  border  of  guilloche  pattern  in  red  on  white, 
and  circles  in  gold  on  black,  is  a  camp  scene,  with  Aaron  approaching  the 
Tabernacle,  and  other  figures  conversing  in  richly  decorated  tents.  On  the 
urn  are  four  oval  medallions  with  alternate  male  and  female  heads.  The  out¬ 
side  of  the  bowl  has  a  rich  composition  of  masks,  baskets  of  fruit,  scrolls,  and 
festoons  in  grisaille,  surrounded  by  foliated  scrolls  in  gold  on  black,  and  bor¬ 
dered  by  a  strongly  designed  band  of  oves  in  grisaille.  The  flesh  part  of  the 
figures  is  tinted  pink.  Signed,  “  P.  R.”  and  dated  1575. 

Height,  inches  ;  width  of  bowl,  7  inches. 

Pierre  Rexmann  (Gallicised  Reymond)  was  probably  of  German  origin,  but  set¬ 
tled  at  Limoges,  at  least  from  1534  to  1578.  His  works,  usually  signed,  as  here, 
“  P.  R.,”  but  the  letters  sometimes  surmounted  by  a  crown — a  punning  allusion  to 
the  first  syllable  of  his  name — are  still  fairly  numerous,  the  Louvre  containing  fifty- 
six.  They  are  mostly  in  grisaille,  and  show  the  influence  of  Albert  Diirer,  Virgil 
Solis,  and  Ducerceau. 


1054  —  Oval  Dish. 

The  slightly  convex  bottom  is  filled  with  a  military  subject,  the  surrender  of  a  fortified 
city.  The  king  and  his  ministers  appear  in  the  gateway  and  make  obeisance 
to  the  conqueror,  who,  like  his  soldiers,  is  costumed  in  Roman  armor.  In 
the  background  are  a  wood,  the  broken  arches  of  an  aqueduct,  and  the  city  wall, 
above  which  appear  two  obelisks  and  a  pillar  monument  reared  upon  a  pyramid. 
This  appears  to  be  intended  for  a  representation  of  the  capture  of  a  Jebusite 


city  by  the  Hebrews.  The  border  is  of  grotesque  human  and  animal  forms, 
terminating  in  foliage.  The  whole  is  in  grisaille,  the  flesh  parts  tinted  with 
red,  with  details  and  ornaments  in  gold  on  black.  On  the  reverse  is  a  vase  in 
which  two  cupids  are  burning  their  bows  and  warming  their  hands  in  the  blaze. 
(The  white  outer  edge  is  slightly  chipped.) 

Signed  and  dated  “  P.  R.  [Pierre  Reymond],  1534.” 

Length,  12%  inches  ;  width,  g%  inches. 

A  replica  of  this  dish,  as  to  the  principal  subject,  was  in  the  Spitzer  Collection, 
dated  1557.  From  an  inscription  in  the  border  of  the  last  piece  it  appears  that  the 
design  is  intended  to  represent  Abraham  refusing  the  presents  of  the  king  of  Sodom. 

The  reverse  of  the  Spitzer  dish  bore  a  design  of  Hercules  leaning  on  his  club. 


1055  —  Ewer. 

The  ovoid  body  has  a  strong  band  in  relief  about  the  shoulder,  from  which  springs  a 
gracefully  curved  handle,  rising  above  the  three-lobed  mouth,  like  that  of  a  classic 
oenochoe.  The  foot  is  short,  with  a  nearly  flat  base. 

The  principal  decoration  is  in  two  zones  or  friezes,  on  either  side  of  the 
connecting  band,  which  is  white,  with  light  floral  ornaments  in  black.  The 
upper  frieze  has  a  grotesque  procession  of  sea  gods  and  monsters — winged, 
finned,  horned,  and  snouted — against  a  background  of  grayish  waves  and 
clouds.  In  the  lower  is  a  combat  of  nude  horsemen  armed  with  spears  and 
cimetars,  and  brought  out  in  strong  relief  against  a  band  of  brilliant  black 
enamel.  The  neck  and  the  foot  are  decorated  with  finely  designed  acanthus 
foliage,  and  the  latter  has,  in  addition,  an  ornamentation  of  masks  and  inter¬ 
twined  grotesques.  The  outer  surface  of  the  handle  is  white,  with  black  orna¬ 
mentation  to  correspond  with  the  band  to  which  it  is  attached.  The  inside  of 
the  handle  is  black,  with  a  seme  of  gold  dots.  The  flesh  parts  of  the  figures 
and  the  inside  of  the  lip  are  tinted  pink.  The  darker  shadows  are  hatched 
through  the  white  enamel  to  the  black  ground. 

Though  not  signed,  this  must  be  considered  a  masterpiece  of  the  difficult 
art  of  painting  in  enamels.  The  figures  are  painted  with  uncommon  freedom 
and  spirit.  The  graduation  of  the  color  effects  from  brilliant  black  and  white 
at  the  bottom  to  delicate  gray  and  pink  at  the  top  is  most  judicious,  and  every 
detail  of  the  ornament  enhances  by  its  “tactile  values  ”  the  beauty  of  the  gen¬ 
eral  form.  It  will  be  difficult  to  find  a  more  perfect  example  of  the  artistic  aim 
of  the  enameller  in  grisaille,  which  was  to  add  to  a  beautiful  shape  a  decoration 
which  should  enrich  it  without  breaking  its  lines,  as  a  decoration  in  relief  would 
do,  or  confusing  them,  as  would  a  decoration  in  color. 

It  is  described  by  Mr.  Claudius  Popelin,  than  whom  no  greater  authority 
can  be  cited,  as  the  work  of  Jean  Penicaud,  the  third,  the  chief  glory  of  the 
school  of  Limoges,  and  it  is  worthy  of  that  attribution. 

From  the  Spitzer  Collection,  Paris,  1893. 

Height,  to  top  of  handle,  11  inches. 


1056  —  Low  Tazza. 

With  shallow  bowl  and  low  foot.  The  inside  of  the  bowl  is  filled  with  a  large  circular 
composition,  a  “  Triumph  of  Amphitrite.”  The  goddess  rides  on  a  pair  of 
dolphins,  escorted  by  sea  nymphs  and  tritons.  A  cupid  flies  in  front,  armed 


with  bow  and  arrow.  In  the  distance  is  a  hilly  landscape,  dotted  with  trees 
and  buildings,  above  which  is  a  cloudy  sky.  The  composition  is  framed  with  a 
border  of  foliated  scrolls  in  gold  on  a  black  ground.  On  the  exterior,  within 
a  border  of  oves,  is  a  boldly  ornamental  composition  of  masks,  architectural 
scrollwork,  fruits,  and  flowers,  with  four  oblong  medallions  containing  nude 
figures  of  river  and  sea  gods.  The  foot  has  festoons  and  bunches  of  fruits, 
scrollwork,  and  cherubim,  with  a  guilloche  border  in  red  on  white.  Under 
the  foot  is  an  open  rose  in  grisaille,  and  stars  and  flowers  in  gold  seme  on  the 
black  ground. 

From  the  renowned  collection  of  Hollingworth  Magniac,  Esq.  (known  as  the  Colworth 
Collection).  Sold  at  Christie,  Manson,  &  Woods,  London,  1892,  at  which  sale  it  was  bought 
for  Mr.  Marquand  by  Sir  Charles  Robinson. 

Diameter  of  bowl,  ioj4  inches  ;  height,  3 inches. 

1057  —  Lavabo. 

In  champlev'e  enamel.  The  name  belongs,  properly,  at  present,  to  the  shallow  dish 
and  the  ewer  with  which  the  priest  washes  his  fingers  at  the  altar.  Anciently, 
it  was  the  custom  to  have  two  bowls;  one  with  a  spout,  as  the  present  example, 
which  served  as  a  ewer  from  which  to  pour  the  water;  the  other  without  a 
spout,  into  which  the  water  was  poured.  The  secular  nature  of  the  decora¬ 
tion — the  coronation  of  a  king,  with  a  curious  border  of  mountebanks  and 
musicians — may  be  accounted  for  by  the  supposition  that  the  bowl  was  a  gift  to 
some  church  in  commemoration  of  the  occasion  depicted. 

The  bowl  is  of  thick  copper,  decorated  in  the  interior  with  engraved 
figures  on  a  background  of  blue  enamel.  In  the  centre,  two  figures  place  the 
crown  upon  the  head  of  a  youthful  king,  who  holds  a  sword  in  his  right  hand. 
Of  the  enamel  background  only  a  few  rosettes  and  jewels  in  turquoise,  red,  and 
white  remain.  The  border  consists  of  a  series  of  semicircular  arches,  within 
which  are  dancers  with  sword  and  shield,  harpists,  and  women  turning  somer¬ 
saults,  representing,  we  may  suppose,  the  popular  fete  given  in  honor  of  the 
coronation.  The  ground,  in  fine  blue  enamel,  most  of  which  still  remains,  is 
strewn  with  flowers  in  yellow,  green,  red,  white,  and  turquoise.  The  flattened 
rim  has  a  tooth  ornament  still  partly  filled  with  blue  enamel,  with  an  outer  line  of 
turquoise.  A  scale  pattern  is  incised  on  the  exterior,  with  a  large  Gothic  “A”  in 
the  centre.  A  lion’s  head  in  relief  forms  the  spout,  and  there  is  a  ring  for  sus¬ 
pension.  Limoges,  thirteenth  century. 

The  border  of  mountebanks  is  not  very  unusual  on  bowls  of  the  period. 
The  female  tumbler  appears  in  an  illuminated  MS.  in  the  British  Museum  as 
Salome  dancing  before  Herod. 

From  the  Collection  of  Le  Chevalier  Raoul  Richards.  Sold  at  Rome,  1890. 

Diameter,  9)4  inches. 


1058  —  Series  of  Four  Circular  Medallions. 

With  heads  of  Roman  emperors  in  grisaille  enamel,  framed  in  dark  red  velvet.  The 
heads  are  those  of  Julius  Caesar,  Augustus,  Galba,  and  Domitian,  and  have  been 
copied  after  the  antique.  They  wear  laurel  wreaths  in  green  enamel  outlined  in 
gold,  and  have  gold  inscriptions.  (Slightly  chipped.) 

Diameter  of  each  enamel,  4)^  inches. 


1059 — Oval  Plaque. 

Portrait  of  a  lady.  The  background  is  blue,  the  flesh  tints  stippled,  the  dress  bejewelled 
with  transparent  enamels  over  gold.  T  he  lady’s  hair  is  bound  up  with  a  parti¬ 
colored  scarf  fastened  with  a  jewel  from  which  hangs  a  jewelled  pendant  touch¬ 
ing  her  forehead.  The  eyes  are  blue.  The  chemisette,  forming  many  small 
folds,  is  bordered  with  turquoise,  set  with  jewels.  A  raised  border,  simulating 
a  frame,  is  of  black  enamel,  with  foliated  scrolls  in  gold,  spaced  with  jewels  in 
translucent  enamels  imitating  rubies,  emeralds,  sapphires,  amethysts,  aventurine, 
etc.  This  has  been  slightly  chipped.  The  plague  is  bound  in  brass,  with  a 
ring  for  suspension,  and  has  been  mounted  on  velvet  and  framed. 

Signed  “  L.  L.”  [Leonard  Limousin.] 

Length  of  the  enamelled  plaque,  12  inches  ;  width,  9%  inches. 

This  plaque  was  obtained  in  Spain  by  Mr.  Jacques  Seligman,  Paris,  from  whom  it 
was  bought  by  Mr.  Marquand.  It  appears  to  be  one  of  a  series  of  portraits  of  royal 
and  noble  persons,  after  the  best  painters  of  the  day,  made  by  Leonard  Limousin 
for  Henry  II.  Three  of  these  are  in  the  Louvre. 

Leonard  Limousin  was  throughout  his  career  a  court  painter,  having  been  the 
favorite,  in  turn,  of  Francis  I.,  Henry  II.,  Francis  II.,  and  Henry  III.  His  works 
show  him  to  have  been  influenced  at  first  by  Albert  Diirer,  later  by  Primaticcio.  It 
has  been  said  of  him,  that  “  of  all  the  enamellers  of  Limoges,  he  knew  the  best  how  to 
harmonize  and  combine  all  the  technical  processes  known  and  practised  before  him.” 
He  painted  for  the  Chateau  d’Anet  a  series  of  plaques  representing  the  twelve 
Apostles  ;  and  other  important  works  are  a  series  of  eighteen  plaques  after  Diirer’s 
"  Passion,”  portraits  of  Henry  III.  as  Jupiter,  and  Catharine  de’  Medici  as  Venus, 
and  the  plaques  of  the  great  retable  which  forms  part  of  the  present  collection.  His 
best  works  were  produced  between  1532  and  1574. 


10G0  —  Large  Circular  Plaque. 

With  head  of  “  Lucrezia  Romana,  ”  so  inscribed  in  grisaille  on  a  black  ground.  The 
borders  of  the  scarf  which  ties  her  hair,  and  the  borders  of  her  garments  are  in 
brown  and  gold,  and  her  mantle  is  fastened  with  a  fibula  in  gold,  in  the  shape 
of  a  rosette  set  with  a  triangular  jewel  in  translucent  green  enamel.  The 
frame  is  set  with  four  plaques,  repeating  a  design  of  a  siren,  with  grotesque 
scrolls  in  grisaille  and  gold  on  a  blue  ground. 

Diameter  of  central  plaque,  9^  inches  ;  diameter  over  all,  18%  inches. 


1061  —  Screen  or  Retable  for  an  Altar. 

Composed  of  twenty-one  enamelled  plaques,  set  in  a  beautifully  wrought  architectural 
frame  of  brass,  in  the  style  of  Francis  I.,  and  mounted  on  a  brass  base. 

The  retable  is  in  three  stages,  the  two  lower  containing  each  nine  plaques, 
the  upper  three.  The  stages  are  separated  by  richly  chased  friezes.  Three 
vertical  divisions  are  formed  by  pilasters  with  ornamental  capitals,  the  lower  ones 
decorated  with  trophies  and  festoons  of  fruits  in  high  relief.  The  two  lower 
divisions  have  at  top  an  ornamental  cresting ;  the  central  one  terminates  in 
a  classic  pediment  flanked  by  urns;  on  the  tympanum,  in  a  wreath  of  enamel, 
is  inscribed  the  name  of  the  artist,  Leonard  Limousin,  and  the  date,  1543. 
Each  panel  (with  one  or  two  exceptions)  is  signed  “  L.  L.  ”  ;  those  with  male 


1061 


figures,  prophets,  and  Apostles,  in  gold,  on  the  background;  those  with  female 
figures,  the  sibyls,  in  black,  on  small  white  scrolls. 

The  figures,  one  on  each  plaque,  are  denoted  by  attributes,  and  also  by 
their  names  inscribed  on  long  white  banderoles  which  contribute  a  very  striking 
part  of  the  general  effect.  The  Sybilla  Delphica,  twice  repeated,  bears  in  one 
instance  the  crown  of  thorns;  in  the  other  a  rose.  The  coloring  is  very  rich; 
a  translucent  red,  turquoise,  and  lapis-lazuli  blue,  violet,  gold,  and  white  pre¬ 
dominating.  The  backgrounds  are  black.  Two  panels,  the  “  Sancte  Paule  ” 
and  the  “  Prophete  Moyses,”  appear  to  be  by  another  hand,  probably  that  of  a 
favorite  pupil,  but  finished  by  the  master. 

Height  of  the  retable,  42^  inches  ;  width  of  the  retable,  52  inches. 

Height  of  each  plaque,  9  inches;  width  of  each  plaque,  4^  inches. 

This  retable  is  figured  in  Harvard’s  great  “  Dictionnaire  de  l’Ameublement  et 
de  la  Decoration,”  vol.  ii. ,  Art.  “  Email.”  It  was  exhibited  in  the  historical 
section  at  the  Paris  Universal  Exposition  of  1878,  and  is  from  the  famous  Beurdeley 
Collection. 


1062  —  Copper-gilt  Cross. 

With  figures  in  full  relief,  and  enamelled  plaques  applied. 

In  the  centre  is  a  figure  of  Christ  crucified;  at  the  top,  an  angel,  lean¬ 
ing  forward  from  a  metal  boss;  on  either  hand,  at  the  ends  of  the  horizontal 
arm,  the  Virgin  and  St.  John  ;  at  the  foot  of  the  cross,  a  nude  figure  rising 
from  a  tomb  in  an  attitude  of  supplication.  Together,  the  figures  symbolize 
the  scheme  of  redemption.  They  are  fastened  to  the  cross  by  copper  rivets. 

The  face  of  the  cross  itself  is  richly  engraved  with  Gothic  foliage  and  is 
gilded,  and  is  further  adorned  with  enamelled  plaques  bearing  inscriptions  and 
figures  of  saints. 

At  the  back  is  a  larger  plaque,  with  a  figure  of  Christ  enthroned,  and  hold¬ 
ing  the  globe.  His  garments  are  enamelled  red  and  green,  the  throne  red,  the 
background  blue,  with  white  pearls.  The  cross  is  engraved  and  gilt  as  in  front, 
with  the  addition  of  the  signs  of  the  Evangelists  engraved  on  the  trefoils  at  the 
ends  of  the  arms,  the  lower  one  of  which  is  partly  encased  in  a  copper  sheath. 
Limoges  (?).  Early  thirteenth  or  late  twelfth  century. 

Size,  30x15  l/z  inches. 

“  I  believe  the  earliest  piece  known.” — J.  Seligman ,  Paris. 


1063 — Greek  Church  Triptych. 

Of  wrought  brass  with  enamels.  On  the  three  leaves  are  figures  of  Christ  with  the 
Gospels,  in  high  relief,  His  Mother,  and  the  Baptist.  The  background  is  of 
blue  enamel  with  cloisons  in  the  shape  of  leaves  and  flowers,  filled  with  white 
and  yellow  enamels,  and  an  ornamental  border  of  white  enamel.  Abbreviated 
Greek  inscriptions  accompany  the  figures.  The  triptych  is  set  in  an  old  carved 
frame,  so  arranged  that  it  can  easily  be  taken  out  for  inspection. 

Each  panel,  7x6^  inches;  over  all,  25  x  14  inches. 


Intaglios  and  Other  Gems 

The  following  section  is  in  no  sense  a  “collection  ”  of  gems,  but  represents  the  wise  selec¬ 
tion  of  a  keen  and  discriminating  judge  of  the  unique  and  beautiful  in  ancient  and  modern  art. 
Though  the  objects  are  few  in  number,  each  is  a  masterpiece  of  its  class,  and  combined  they  display 
a  rare  catholicity  of  taste.  Every  period  of  highest  artistic  excellence  is  here  represented,  from  the 
beautiful  Egyptian  scarabceus  (No.  1064),  the  earliest  of  all,  to  the  handsome  intaglios  and  cameos  of 
modern  times.  Attention  is  especially  called  to  the  marvellous  Greek  and  Etruscan  gold  jewelry, 
typical  products  of  this  early  art,  and  chosen  for  their  perfection  of  workmanship  and  preservation; 
to  the  three  Greek  gold  coins  (Nos.  1070—1072),  as  clear  and  sharp  as  when  they  fell  from  the 
dies  more  than  2, 200  years  ago;  to  the  splendid  specimens  of  ancient  glyptic  art,  in  particular  the 
beautiful  garnet  quadriga ,  No.  1073;  and  to  the  Gothic  seal  ring,  unique  as  a  work  of  art  and  of 
high  historic  interest. 


1064  —  Ancient  Egyptian  Scarabceus. 

Of  hard  stone,  covered  with  firm  green,  brown,  and  red  enamel,  remarkably  preserved, 
and  beautifully  tinted  by  time.  On  the  flat  side  are  six  rows  of  finely  cut 
hieroglyphics. 

Length,  about  2  *4  inches. 

This  is  one  of  the  finest  specimens  of  its  class.  A  similar  specimen  is  illustrated 
in  John  Ward’s  "  The  Sacred  Beetle  ”  (New  York,  1902),  page  5. 


1065  —  Etruscan  Scarabceus. 

Of  rich,  dark  carnelian,  set  in  its  original  ancient  gold  swivel  ring.  Intaglio,  within 
a  typical  Etruscan  border,  representing  Herakles,  or  one  of  his  suite,  with  club 
over  his  shoulder,  filling  an  amphora  at  a  fountain.  Very  fine  Etruscan 
workmanship  of  about  400  b.c.,  or  earlier. 


1066  —  Ancient  Gold  Jewelry. 

In  a  silk-lined  case,  (a)  A  necklace  consisting  of  twenty  beads  of  beaten  gold,  many 
ornamented  with  the  finest  filigree,  alternating  with  seventeen  Egyptian  beads 
of  colored  glass  and  enamel,  such  as  the  Etruscans  loved  to  import  from  Egypt 
in  the  sixth  and  fifth  centuries  b.c.  ;  and  a  pendant  of  amber.  ( b )  A  plain 


gold  ring  without  design.  Etruscan,  (c)  A  pair  of  Etruscan  gold  filigree 
earrings  in  repousse  work.  ( d )  Four  small  Etruscan  gold  earrings,  decorated 
with  filigree  bulbs  and  points.  ( e )  A  Greek  gold  ring  with  design,  in  relief, 
of  Leda  and  the  Swan. 

In  this  collection  of  ornaments  from  Etruscan  tombs  every  specimen  is  a  master¬ 
piece  of  its  class. 


1067  —  Etruscan  Jewelry. 

In  a  silk-lined  Tiffany  case.  (a)  A  necklace  or  bracelet  of  pure  gold.  Twenty-two 
ox  and  rams’  heads,  with  central  pendant  of  a  large  bull’s  head  crowned  in  the 
Egyptian  style.  A  unique  specimen,  showing  the  highest  perfection  of  ancient 
goldsmiths’  work  (seventh  to  fifth  centuries  b.c.).  (b )  Pair  of  small  gold  filigree 
earrings,  (r)  Pair  of  broad  gold  filigree  earrings.  Very  fine. 


1068  —  Pair  of  Gold  Bosses. 

In  finest  filigree  design,  and  of  great  rarity.  Etruscan  workmanship  of  the  fifth 
century  b.c. 


1069 — Ancient  Greek  Ring  of  Pure  Gold. 

With  design  in  relief  of  a  comic  mask.  Finest  workmanship  of  the  fifth  or  fourth 
century  b.c.  Perfectly  preserved. 


1070 — Greek  Gold  Coin  ( Stater )  of  Lysimachus ,  Successor  of  Alexander  the  Great , 
and  King  of  Thrace  [b.c.  32J—281). 

Obverse,  head  of  the  deified  Alexander  as  Jupiter  Ammon,  with  the  horn  of  Ammon 
over  his  ear.  Reverse,  “  BA2IAEQ2  AY2IMAXOY.”  Pallas  Nikephoros  seated, 
holding  a  small  image  of  Victory.  In  most  perfect  preservation. 


1071  —  Greek  Gold  Coin  [ Stater )  of  Philip  II.  of  Macedon  [B.  c.  359-336),  the 
Father  of  Alexander  the  Great. 

Obverse,  youthful  head  of  Apollo  to  right.  Reverse,  a  biga.  Under  the  horses  a  kan- 
tharos  as  symbol.  In  the  exergue,  “  OIAIIUIOY.”  Perfect  preservation. 


1072  —  Greek  Gold  Coin  [one-twelfth  of  Stater )  of  Philip  II.  of  Macedon. 

Obverse,  as  on  the  stater  above.  Reverse,  a  winged  thunderbolt  and  the  name 
“  <t>IAIIIIIOY.”  Basket  as  a  symbol.  Beautifully  preserved. 


1073  —  Intaglio. 

Dark  oval  garnet,  set  in  modern  gold  pendant  as  watch-charm.  The  cutting  repre¬ 
sents  a  goddess  (Aurora)  urging  forward  a  spirited  quadriga.  Finest  Graeco- 
Roman  work  of  the  best  period.  A  gem  of  great  rarity.  Unfortunately 
broken,  but  without  injury  to  the  design. 


1074 — Intaglio. 


Set  in  a  modern  ring  of  massive  gold.  Draped  bust  of  a  bearded  Greek  philosopher 
or  poet.  Graeco-Roman  cutting. 


107 5  —  Intaglio. 

Antique,  set  in  a  modern  gold  ring.  Yellow-tinged  carnelian.  Mars  (or  perhaps 
Perseus,  as  he  has  the  Medusa-head  on  his  shield)  contemplating  his  armor. 
Fine  workmanship. 


1076  —  Massive  Gold  Eighteenth  Century  Ring. 

Set  with  three  antique  Roman  gems,  (a)  Yellow  sard.  Intaglio  of  a  helmeted 
Roman  soldier  represented  as  Mars,  with  spear  and  patera.  Third  century 
a.d.  (b)  Cameo  in  white  onyx.  Cupid  head.  (r)  Black  agate.  An  ant 
as  a  talisman.  Second  or  third  century  a.d. 


1077  —  Intaglio. 


Carnelian.  Jupiter,  riding  over  the  clouds  in  his  four-horse  chariot  ( quadriga ),  hurls 
his  thunderbolt.  Splendid  workmanship.  Set  in  modern  brooch. 


1078  —  Intaglio. 

Niccolo.  A  Greek  youth  engaged  in  a  religious  ceremony.  Stone  set  in  a  modern 
gold  ring. 


1079  —  Intaglio . 

Onyx.  Dark  brown  on  white.  A  Roman  soldier  taking  his  oath.  Clad  in  military 
garb,  he  stands  between  two  fully  armed  soldiers,  and  places  his  hand  upon  the 
altar.  A  seated  official  presides  at  the  ceremony.  Very  fine  Roman  work  of 
the  Antonine  period  (second  century  a.d.).  Heavy  modern  gold  mounting  as 
a  ring. 


1 080  —  Intaglio. 


Onyx. 


Brown  upon  white.  A  nude  man  seated  on  a  rock  lets  a  goat  drink  from  a 
bowl.  The  animal  rises  on  his  hind  legs,  with  his  paws  familiarly  on  the 
man’s  knees.  Roman.  Set  in  a  modern  gold  ring. 


1081 — Modern  Gold  Ring. 

Richly  decorated,  set  with  two  antique  intaglios,  (a)  Green  jasper,  striped  with  red. 
A  lion  walking.  Above,  a  mystic  character.  (b)  Hard  red  jasper.  Minerva 
(or  Rome  so  personified)  in  full  panoply,  advancing  to  the  right,  bearing  a 
trophy  of  arms.  Roman  or  Syro-Roman  work  of  the  second  or  third  century 
a.  d.  Interesting. 

1082  —  Intaglio. 

Sard.  A  man  milking  a  goat.  Roman  work  of  the  third  century  a.d.,  in  its  original 
silver  ring.  A  rare  curiosity. 

1 083  —  Intaglio. 

Onyx.  Draped  bust  of  a  Roman  emperor  in  the  style  of  the  third  century  a.d.,  per¬ 
haps  Postumus,  Emperor  in  Gaul  (a.d.  258-267),  wearing  radiate  or  spiked 
crown.  Unique  and  very  interesting.  Set  in  a  small  early  modern  gold  and 
silver  ring. 

1084  —  Intaglio. 

.  Set  in  a  modern  gold  ring.  Red  jasper.  A  Syrian  armed  god  standing  upon  a  moun¬ 
tain.  Romano-Asiatic  symbolic  seal  of  the  third  or  fourth  century  a.d. 


1085  —  Cameo. 


Yellow  on  brown  onyx.  Bacchus  and  his  train  of  fauns  and  satyrs  discovering  the 
sleeping  Ariadne  as  abandoned  by  Theseus.  Very  fine  cutting,  set  as  a  brooch. 


1086  —  Intaglio. 


Onyx,  set  in  a  gold  ring.  Psyche  seated,  holding  a  butterfly  by  the  wings — symbolic 
of  the  human  soul. 


1087  —  Cameo. 

In  two  layers  of  onyx.  The  portrait,  in  opaque  cream  color,  marvellously  tinted  by 
nature  and  time,  on  a  transparent  brownish-yellow  background.  Laurel- 
crowned  bust  of  a  Roman  of  the  period  B.c.  100— a.d.  1 00,  with  shoulders 
draped.  There  is  no  marked  likeness  to  any  of  the  “Caesars”;  perhaps  a 
prince  of  the  Claudian  house  is  intended.  If  not  ancient,  the  cutting  is 
extremely  fine  sette cento  work. 

Length,  2  'g  inches. 


1088  —  Intaglio. 

Translucent  yellow  onyx.  Filleted  bust,  draped,  of  a  Greek  statesman  or  sage, 
splendid  portrait,  magnificently  cut. 


A 


Length,  2  inches. 


1089  —  Ancient  Sassanian  Conical  Seal. 


Of  dark  translucent  stone.  The  Zoroastrian  god  Ahura  Mazda  (Ormuzd),  with  bow 
and  outstretched  arm.  By  far  one  of  the  finest  of  these  early  Persian  religious 
seals. 


1090  —  Intaglio. 

Carnelian,  set  in  old  ring  of  beaten  gold.  Octagonal  seal,  with  long  inscription  in 
Turkish  characters:  “  Ya  Rabb  darain  Khalil  mazhar  i  izza  6  lah;  ”  i.e.,  “O 
Lord,  mayest  Thou  make  auspicious  the  two  abodes  of  Khalil  ”  (name  of  the 
owner  of  the  seal). 


1091  —  Intaglio. 

Scaraboid  of  aquamarine,  pierced  lengthwise.  The  scene  represents  probably  the 
“  Choice  of  Hercules.”  At  the  left,  a  tall  female  figure  with  a  flowered  staff, 
or  branch,  upright.  At  right,  another  draped  female  figure,  with  a  long  wand, 
placing  her  hand  on  the  head  of  a  boy,  who  looks  up  at  the  first  figure.  An 
eagle  flies  above  the  boy’s  head.  A  beautiful  stone,  and  a  masterpiece  of 
technique.  Probably  of  the  eighteenth  century. 

1092  —  Intaglio. 

Striped  agate,  set  in  a  gold  ring.  Mars,  seated,  receives  a  curious  object  shaped  like 
a  boomerang  from  an  old  satyr.  Modern. 

1093  —  A  Large  Emerald. 

Set  in  a  massive  and  very  richly  wrought  gold  ring  of  the  eighteenth  century. 


1094 —  Cameo. 


Creamy  onyx  on  bluish  gray.  Full  front  head  of  a  youth,  beardless,  with  long,  wavy 
hair,  and  tunic  over  his  shoulders.  Early  modern  work.  Cracked  and  mended. 

Length,  2%  inches. 


1095  —  Intaglio. 

Carnelian.  Eighteenth  century  bust  of  a  gentleman.  Very  fine  French  workmanship. 
Set  as  a  seal,  with  the  original  gold  mounting. 


1096  —  Intaglio. 

Striped  agate.  Venus  borne  over  the  sea  on  the  back  of  a  dolphin,  accompanied  by  two 
sea  nymphs  (Nereids).  Little  Cupid,  flying  ahead  with  a  torch,  guides  the 
way.  Eighteenth  century  work  of  an  Italian  gem-cutter,  in  old  setting,  as  a 
brooch. 


1097  —  Intaglio. 

Carnelian,  set  in  gold  ring  of  recent  make.  Vulcan  forging  the  armor  of  Mars.  At 
the  left  of  the  toiling  god  sits  Mars  upon  a  pile  of  armor.  Venus  is  standing 
beside  him,  pointing  to  the  hot  metal,  and  Cupid  plays  at  his  feet.  At  the 
right,  in  a  group,  Juno  seated,  Jupiter,  and  Mercury.  Very  fine  early  modern 
work. 

1098  —  Cameo. 

Onyx,  with  highly  decorated  gold  mounting,  as  a  breastpin.  A  Medusa  head  of 
masterly  workmanship.  Early  modern  cutting. 

1099  —  Intaglio. 

Oriental  carnelian,  set  as  a  brooch.  Neptune  seated  upon  the  surface  of  the  sea, 
supported  by  a  dolphin.  A  kneeling  nymph  places  upon  his  knees  a  child. 
Signed  “  IIOAYKAEITOY,  ”  “of  Polykleites.  ” 

This  and  the  following  gem  are  from  the  collection  made  by  the  order  of  Prince 
Poniatowsky,  of  Poland,  at  the  end  of  the  eighteenth  century.  Every  stone  was  chosen 
for  its  exquisite  beauty  and  purity,  and  the  classic  design  was  entrusted  to  the  best 
Italian  gem-engravers  of  the  period,  who  signed  with  a  fictitious  Greek  name. 


1100  —  Intaglio „ 

Oriental  carnelian.  Signed  “  A2IIA2IOY,”  “  of  Aspasios.”  From  the  Prince  Ponia¬ 
towsky  Collection,  as  the  preceding.  An  aged  Homeric  warrior  sits  mourning 
on  a  pile  of  arms.  The  spirit  (“shade”)  of  an  old  man  flies  toward  him,  ex¬ 
tending  his  hand  above  his  head.  Perhaps  iEneas  and  Anchises  are  intended. 


1101  —  Intaglio. 

Yellow  sard,  set  in  gold  as  a  watch  charm.  Winged  Psyche  confounds  her  two  jealous 
sisters.  Signed  Beltrami.  The  work  of  a  modern  Italian  gem-engraver,  a 
master  of  his  art. 

1102  —  Superb  Early  Gothic  Gold  Seal  Rmg . 

In  a  small  leather  jewel  case,  with  an  impression  of  its  seal.  The  ring  is  of  early 
French  work,  as  shown  by  the  mark  on  the  inside  of  the  hoop — a  slipped  fleur- 
de-lis ,  surmounted  by  a  crown.  The  hoop  is  elegantly  engraved  with  a  floral 
scroll,  and  the  bezel  has  a  half-length  figure  of  an  angel  holding  the  ends  of  a 
scroll,  on  which  is  inscribed,  in  old  French  characters,  the  name  of  the  person 
for  whom  the  ring  was  made — M.  Lemacon — probably  a  dignitary  of  the 
Church.  It  was  probably  made  about  1380 — certainly  not  after  the  first  quarter 
of  the  fifteenth  century — and  is  one  of  the  finest  examples,  if  not  the  finest,  of 
Gothic  rings  in  existence;  certainly  not  surpassed  by  any  of  those  in  the  British 
Museum  or  Bibliotheque  Nationale.  It  was  formerly  in  the  collection  of  the 
Earl  of  Londesborough. 


Snuff-boxes ,  Watches,  and 
Other  Cabinet  Objects 


1103  —  Porcelain  Box. 

Gold  mounted.  Decorated  inside  and  out  with  vignettes  a  la  Watteau. 


1104  —  Lady's  Small  Gold  Watch. 


Decorated  with  transparent  green  enamel  and  a  design  in  colors,  of  Boreas  carrying  off 
Orithyia.  Eighteenth  century. 


1105  —  Small  Oval  Box. 


Of  variegated  agate,  encrusted  with  gold,  wrought  a  jour ,  in  the  style  of  Jean  Berain. 


1106  —  Small  Oblong  Box. 

Of  silver.  Gilt  in  the  interior,  oxidized  on  the  exterior,  and  chased  with  a  foliated 
pattern. 


1 107  —  Finger  Ring. 

Chased  and  enamelled  in  white  and  colors,  in  the  style  of  the  sixteenth  century. 


1108 —  Oval  Box. 

Gold.  Decorated  in  enamels,  with  trophies  of  musical  instruments,  on  a  yellow  ground, 
with  borders  of  convolvulus  flowers  and  leaves  on  a  blue  ground.  Eighteenth 
century. 


1109  —  Oval  Box. 


Gold.  Decorated  in  transparent  blue  enamel,  with  a  chatoyant  effect,  and  bearing 
a  design  in  miniature  of  a  sacrifice  to  Eros. 


1110  —  Circular  Gold  Box. 


In  the  style  of  Louis  XV.,  bearing  five  beautifully  executed  miniatures  in  enamel,  of 
fetes  champetres.  In  a  velvet  case. 


1111  —  Large  Oval  Box. 

Of  variegated  agate,  the  cover  of  gold,  framing  a  miniature,  signed  and  dated  V.  Blaren- 
berghe,  1775,  giving  a  view  of  a  fortified  city  in  the  distance,  with  a  battle  in 
progress,  and  troops  on  the  march,  and  in  the  foreground  a  group  of  cavalry 
officers. 

Louis  van  Blarenberghe  was  one  of  the  most  celebrated  miniaturists  of  the 
eighteenth  century.  He  was  born  at  Lille  in  1719,  the  son  of  a  Flemish  artist.  He 
became  noted  for  his  microscopic  paintings  of  military  and  naval  subjects  and  land¬ 
scapes,  and  was  sent  to  Brest  in  1773  to  paint  views  of  that  fortress  and  port  for  the 
Ministry  of  Marine.  His  miniatures  are  highly  prized  in  France,  and  25,000  or 
30,000  francs  have  frequently  been  paid  for  one  of  them. 

1112 —  Watch. 

Of  the  so-called  “  onion  ”  pattern.  Made  by  Leonard  Bury,  at  Basle.  In  a  silver  case 
wrought  with  foliage  and  figures. 

1113 —  Oval  Miniature  of  a  Lady. 

Framed  in  gold. 

1114 —  Watch. 

By  Gregson,  of  Paris.  In  a  gold  case  set  with  pearls  and  decorated  on  the  back  with 
chatoyant  blue  enamel.  In  an  outer  case  of  silver,  enamelled,  and  bearing  a 
design  of  a  seaport  on  the  back. 

Gregson  was  horlogier  du  roi  to  Louis  XVI. 


1115 — Old  Dutch  Watch. 


Of  “Nuremberg  pattern,”  the  dial  painted  with  a  view  of  a  warehouse  and  ship.  In 
a  silver  case,  with  a  silver  outer  case  embossed  with  figures  and  foliage. 


1116  —  Scent  Bottle. 

Of  porcelain,  gold  mounted.  In  the  form  of  a  monk  carrying  a  basket  and  a  goose, 
with  a  young  woman  bundled  up  in  a  sheaf  of  wheat  on  his  back. 


1117  —  Pendant . 


In  carved  and  tinted  ivory,  representing  a  nun  reading  in  her  cell,  with  crucifix  and 
skull  by  her  side,  framed  in  an  elaborate  composition  of  cherubim  and  strap 
work,  gilded,  and  toned  with  various  colors.  Italian  work  of  the  sixteenth  cen¬ 
tury.  In  a  more  recent  frame  of  hard  wood,  carved  with  cherubs’  heads  in 
clouds,  by  Frullini,  of  Florence. 


1118 — Two  Portraits ,  Man  and  Woman. 

Carved  in  hone  stone,  in  high  relief.  The  man  wears  the  collar  of  the  Golden. 
Fleece,  and  each  portrait  bears  in  relief  in  the  background  a  shield  armorial, 
with  the  double-headed  eagle  and  the  date  1519.  German  work.  Six¬ 
teenth  century. 

From  the  renowned  collection  of  Hollingworth  Magniac,  Esq.  (known  as  the  Colworth 
Collection).  Sold  at  Christie,  Manson  &  Woods,  London,  1892,  and  at  which  sale  was  bought 
for  Mr.  Marquand  by  Sir  Charles  Robinson. 


Rare  and 
Persian 


Beautiful 
and  Other 


Antique 

Tiles 


1119  —  Fragment  of  a  Tile. 

Of  hard  paste  and  silicious  glaze.  Decorated  with  a  rich  diaper  pattern  in  soft,  warm 
green,  with  arabesque  reserves  in  white,  outlined  in  blue,  with  a  finer  outline  of 
black,  between  large  leaf  and  flower  scrolls  borrowed  from  the  Chinese  peony 
decoration.  Damascan  (?). 

Height,  II  inches;  width,  7 l/z  inches. 


1120 — Tile. 

With  a  large  floral  scroll,  the  flowers  in  two  shades  of  blue,  with  turquoise  centres, 
bearing  smaller  flowers  in  white,  outlined  in  blue.  The  blue  leaves  are  similarly 
decorated  with  small  white  flowers  and  turquoise  leaflets.  Paste  and  glaze  like 
the  foregoing. 

Height,  10  inches  ;  width,  10  inches. 


1121  —  Large  Tile. 

Of  hard  paste  and  silicious  glaze.  Decorated  with  a  rich  diaper  pattern  in  soft,  warm 
colors,  with  reserves  in  white,  outlined  in  blue,  between  large  leaf  and  flower 
scrolls  of  peony  pattern. 

Height,  11  inches;  width,  11  inches. 


1122  —  Monumental  Tile. 

In  the  form  of  a  doorway,  with  a  central  pillar  and  panelled  doors.  There  is  an  oblong 
inscription  in  relief  over  the  door.  The  lower  part,  restored,  is  covered  with 
a  greenish  varnish,  which  covers,  also,  part  of  the  original  turquoise  glaze. 

Height,  21  inches  ;  width,  14  inches. 

1123 —  Copper  Tile. 

From  the  upper  part  of  the  back  of  a  niche,  or  “  mihrab,”  in  the  form  of  a  triangular¬ 
headed  opening,  filled  with  large  arabesques  in  relief,  and  bearing  an  Arabic 
inscription  on  the  frame  of  the  opening.  The  paste  in  this  and  the  foregoing 
is  coarse  and  hard.  The  turquoise  glaze  has  chipped  away  a  little  in  places. 

Height,  17  inches  ;  width,  18^  inches  ;  depth,  3  inches. 


1124  —  Gold-lustre  T He. 


Framed.  Being  half  of  an  eight-pointed  star  tile.  Within  an  outer  border  of  Arabic 
inscriptions,  the  decoration  consists  of  radiating  arabesques,  reserved  from  the 
lustred  ground,  which  shows  rich  golden  reflections,  changing  to  emerald  in 
some  lights.  Old  Persian.  Probably  of  the  thirteenth  century. 

Height,  5)4  inches;  length,  II  inches. 


1125  —  Brown-lustre  T ile. 

Being  the  greater  portion  of  an  X-shaped  tile.  There  is,  as  usual,  an  outer  border, 
with  inscriptions,  within  which  are  arabesques  reserved  in  the  creamy  white 
glaze  from  a  general  ground  of  lustre,  which  shows  brilliant  crimson,  blue, 
green,  and  golden  reflections.  Old  Persian. 

Height,  7)4  inches  ;  length,  12  inches. 


112G  —  Large  Star-shaped  Tile. 

Framed.  Within  the  usual  border  of  inscriptions  are  four  highly  conventional  tree 
forms  crossing,  reserved  in  white  on  the  brown  lustre,  which  has  mainly  golden 
and  coppery  reflections,  with  sparks  of  green.  Old  Persian. 

Height,  12  inches  ;  width,  12  inches. 


1127  —  Large  Octagonal  Framed  Panel. 

Composed  of  four  half-star-shaped  tiles  and  one  X-shaped  tile,  to  show  the  manner  of 
their  fitting  together  in  wall  decoration.  The  spaces  left  between  the  tiles  and 
the  frame  are  filled  with  plaster,  colored  turquoise  blue,  and  decorated  with  fern 
leaves  in  gold,  to  be  at  once  distinguished  from  the  tiles,  which  are  of  fine 
brown  or  copper  lustre,  with  varied  and  intense  metallic  reflections.  The 
patterns  are  of  arabesques  in  reserve,  with  borders  of  inscriptions.  One  of  the 
half-star  tiles  shows  the  effect  of  the  blistering  of  the  glaze  in  the  furnace. 
Old  Persian. 

Height,  12  inches  ;  width,  12  inches. 

*1128  —  Mosque  Tile. 

Part  of  a  frieze  which  included  the  two  following  tiles.  The  inscription,  in  large 
letters,  in  relief,  and  colored  ultramarine  blue,  is  in  the  style  called  Nasch,  the 
next  in  point  of  antiquity  to  the  Cufic,  and  the  most  picturesque  of  all  the 
Arabic  styles  of  writing.  The  ground  is  of  brown  lustre,  with  rich  crimson 
and  green  reflections,  filled  with  foliated  scrolls  in  reserve,  and  tinted  with  tur¬ 
quoise.  The  upper,  projecting  border  bears  lustre  inscriptions;  from  the  lower 
border  the  lustre  has  been  worn  away.  Probably  old  Persian  or  Anatolian  of 
the  fourteenth  century. 

Height,  7)4  inches  ;  length,  15  inches. 

*  It  is  pretended  that  tiles  with  raised  blue  inscriptions  on  a  ground  of  brown 
lustre  were  first  made  for  the  tomb  raised  to  Mahomet  at  Broussa,  in  the  four¬ 
teenth  century. 

The  inscription,  running  across  all  three  tiles,  has  been  translated  :  “  [In  the 
name  of  God]  the  just,  the  very  just;  we  have  believed,  therefore  forgive  us,  and  for¬ 
give  your  prophet,  whom  you  sent.” 


*  1 1 29  —  Mosque  T He. 

Similar  to  the  foregoing;  the  inscription  on  the  lower  border  almost  effaced. 

Height,  7)4  inches;  length,  15  inches. 

*  1 130  —  Mosque  Tile. 

Similar  to  the  foregoing. 


Height,  7%  inches  ;  length,  15  inches. 


1131  —  Panel. 


Set  with  six  antique  star-shaped  tiles  decorated  in  brownish  or  copper  lustre,  some  with 
the  addition  of  blue  and  turquoise.  One  is  ornamented  in  relief,  with  a  bunch 
of  gracefully  drooping  flowers.  The  other  designs — rabbits  and  a  tree,  a  tree 
with  interlacing  branches,  and  various  arabesques — are  characteristic  of  the 
thirteenth  and  fourteenth  centuries.  The  rich  metallic  reflections  range  through 
every  color  from  blue  to  crimson.  Old  Persian. 


1132  —  Panel. 


Height,  51  inches  ;  width,  10  inches. 


Set  with  six  antique  star-shaped  tiles.  One  has  a  design  in  relief  of  a  kingfisher  flying 
up  from  among  flowering  reeds.  Among  the  other  subjects  are  dogs  and 
arabesques,  a  spray  of  conventional  flowers,  with  fishes  in  a  pool  underneath, 
and  a  gracefully  branching  plant  whose  branches  end  in  grotesque  heads.  The 
colors  are  brownish  lustre,  with  intense  metallic  reflections,  creamy  white, 
ultramarine  blue,  and  turquoise.  They  are  probably  of  the  thirteenth  to  the 
fourteenth  century  a.d.  Old  Persian. 

Height,  51  inches  ;  width,  10  inches. 

1133 — Framed.  Tile. 


Star  shaped,  with  a  very  deep,  thick,  vitreous  lapis-lazuli  glaze,  decorated  with  fern 
leaves  in  gold,  outlined  with  brown  over  the  glaze,  and  the  ground  filled 
with  small  white  dots  and  scrolls,  also  fired  over  the  glaze.  The  gilding  is 
slightly  worn.  Old  Persian. 

Height,  8  inches  ;  width,  8  inches. 

These  lapis-lazuli  tiles,  with  gold  decoration  over  glaze,  are  of  great  rarity  and 
are  very  highly  prized.  They  are  referred  by  Mr.  Henry  Wallis,  probably  the  best 
living  authority  on  Persian  tiles,  to  the  thirteenth  century,  but  they  are  much  rarer 
than  even  the  lustred  tiles  of  that  period. 


1134  —  Framed  Tile. 

Star  shaped.  Similar  to  the  foregoing. 


Height,  8  inches  ;  width,  8  inches. 


1135  —  Hexagonal  Tile. 

Framed,  with  a  symmetrical  design  of  floral  scrolls  in  dark  blue  and  turquoise  on  a 
ground  of  brilliant,  slightly  greenish  white.  Old  Damascan. 

Height,  10)4.  inches  ;  width,  9^  inches. 

*  It  is  pretended  that  tiles  with  raised  blue  inscriptions  on  a  ground  of  brown 
lustre  were  first  made  for  the  tomb  raised  to  Mahomet  at  Broussa,  in  the  fourteenth 
century. 

The  inscription,  running  across  all  three  tiles,  has  been  translated :  “  [In  the 
name  of  God]  the  just,  the  very  just;  we  have  believed,  therefore  forgive  us,  and  for¬ 
give  your  prophet,  whom  you  sent.” 


1136  —  Star-shaped  T tie. 

Framed.  The  decoration  is  of  arabesque  foliage  reserved  in  white  on  a  ground  of 
brownish  lustre,  with  a  broad  line  of  blue  separating  it  from  the  customary 
white  border,  with  inscriptions.  The  play  of  color  with  reflected  light  is 
exquisite,  showing  mainly  a  vivid  blue,  changing  in  spots  to  rose  color  and 
gold.  (Repaired.)  Old  Persian. 

Height,  9  inches  ;  width,  9  inches. 


1137 — Star-shaped  Tile . 

Framed.  It  is  decorated  in  brownish  lustre,  with  blue,  golden,  and  red  reflections, 
with  arabesques  in  white,  reserved,  and  has  the  usual  border  with  inscriptions. 
(Repaired.)  Old  Persian. 

Height,  9  inches  ;  width,  9  inches. 


1138 —  Tile. 

Part  of  a  continuous  wall  decoration.  It  shows  one  arch  of  an  arcade,  with  a  hanging 
lamp  and  inscriptions,  surmounted  by  a  frieze  which  is  decorated  with  flowers. 
The  colors  are  those  that  mark  very  early  polychrome  tiles — olive  green,  tur¬ 
quoise  blue,  and  white. 

Height,  9  inches  ;  width,  9  inches. 


1139  —  Series  of  Twelve  Old  Spanish  Azulejos ,  or  Wall  Tiles. 

From  the  palace  of  Charles  V.,  on  the  Alhambra  Hill.  The  designs  are  flower  pots 
with  flowers,  separated  by  Jieurs-de-lis ,  cornucopias  with  scrolls  and  fleurons,  and 
an  arabesque  interlacing  floral  pattern.  The  decoration  is  all  outlined  in  relief, 
in  the  Moorish  manner.  The  coloring  is  in  blue,  green,  and  yellow,  the  latter 
color  in  some  cases  giving  golden  and  rose-red  metallic  reflections.  Old  Span¬ 
ish.  Sixteenth  century. 

Length  of  panel,  tiles  only,  60  inches ;  height,  5  inches. 


1140 — Panel  of  Twelve  Old  Spanish  Azulejos. 

Similar  to  the  foregoing. 


1141  —  Pilaster  Panel  of  Four  Azulejos. 

The  subjects  are  a  flower  vase  with  Spanish  thistle,  a  crowned  head  in  a  wreath, 
cornucopias,  and  a  vase  with  flowers.  The  colors  are  deep  blue,  ochreous 
yellow,  and  dark  red,  on  a  ground  of  variously  toned  white.  Old  Spanish. 
Sixteenth  century. 

Height  of  panel,  tiles  only,  28  inches  ;  width,  5  inches. 


1142  —  Pilaster  Panel  of  Four  Azulejos. 

Similar  to  the  foregoing. 


*1143 — Three  Oblong  Tiles. 

With  arabesques  and  cloud  scrolls 
Details  in  iron  red. 

*1144 — Three  Oblong  Tiles. 

Similar  to  the  foregoing. 

*1145 — Three  Oblong  Tiles. 

Similar  to  the  foregoing. 

*1146 — Three  Oblong  Tiles. 

Similar  to  the  foregoing. 


reserved  in  white  on  a  ground  of  light  green. 

Height,  io  inches  ;  width,  4^  inches. 


Height,  10  inches  ;  width,  4  inches. 


Height,  10  inches  ;  width,  4  inches. 


Height,  10  inches  ;  width,  4  inches. 


*1147 — Ten  Oblong  Tiles. 

With  conventional  flowers  and  leaves  in  reserved  white,  turquoise,  and  iron  red,  on  a 
ground  of  deep  blue. 

Height,  10  inches  ;  width,  6  inches. 


*1148  —  Six  Tiles. 

On  a  white  ground.  Large  compartments  are  traced  in  a  fine  iron  red  laid  on  so 
thickly  as  to  form  a  relief.  Within  these  compartments  are  bunches  of  roses 
and  carnations,  symmetrically  disposed ;  the  roses  blue,  the  carnations  red. 
Between  them  are  other  graceful  floral  sprays.  The  flowers  are  mainly  blue, 
the  leaves  green,  which  has  run  a  little  into  the  ground. 

Height,  q'/2  inches;  width,  9^  inches. 


*  The  beautiful  wall  decorations  described  above  are  from  the  mosque  of  Rustem 
Pacha,  in  Constantinople,  obtained  through  the  courtesy  of  Mrs.  E.  C.  Hobson. 
“The  history  of  them  is  rather  interesting,”  writes  Mrs.  Hobson.  “A  French  den¬ 
tist  there  got  a  contract  from  the  Palace  to  repair  a  very  beautiful  little  mosque  called, 
I  think,  the  Rustem  Pacha  mosque,  built  by  a  grand  vizier  of  that  name  in  memory 
of  his  wife.  The  dentist  abstracted  a  large  quantity  of  the  tiles,  and  replaced  them  by 
imitation  ones  made  in  Paris.  He  died  soon  after,  and  I  purchased  them  through 
the  good  offices  of  the  English  consul-general,  Mr.  - ,  a  great  collector,  and  con¬ 

sidered  one  of  the  best  authorities  on  Eastern  art.  The  entdfes  des  fenetres  are  con¬ 
sidered  most  rare  and  beautiful;  in  fact,  I  doubt  if  any  like  them  ever  left  Constanti¬ 
nople  before.  The  narrow  blue  tiles  are  also  very  precious  and  rare,  and  all  are  of  the 
best  period  of  Turkish  manufacture.  .  .  .  Mr.  -  bought  a  few  for  the  Man¬ 

chester  Museum.  .  .  .” 

It  is  to  be  observed  that  “  Turkish  ”  does  not  necessarily  mean  of  Turkey  in 
Europe.  Tiles  similar  to  many  of  these  are  known  to  be  from  Kutahia,  in  Asia  Minor, 
which  has  been  a  centre  of  the  ceramic  industry  from  the  fourteenth  century,  when 
it  was  introduced  there  by  Persian  potters. 


*1 149 —  Six  Tiles. 


Similar  to  the  foregoing. 


Height,  9  inches  ;  width,  9  inches. 


*1150  —  Square  Panel  of  Twenty-nine  Wall  Tiles. 

Framed.  The  ornamentation  is  of  symmetrically  disposed  conventional  flowers  and 
buds,  connected  by  lighter  sprays;  the  coloring  in  two  shades  of  blue,  green, 
iron  red,  and  the  white  of  the  ground.  The  border  has  a  running  scroll  of 
leaves  and  flowers  on  a  dark  blue  ground. 

Height,  38  inches ;  width,  38  inches. 


*1151  —  Square  Patiel  of  Forty  Wall  Tiles. 

Framed.  Rich  compartments  outlined  in  red  bear  bouquets  of  carnations  and  other 
flowers  in  red,  green,  and  reserved  white  on  a  deep  blue  ground.  Between 
them  are  sprays  of  almond  blossoms  in  blue,  with  red  centres,  and  gracefully 
drooping  carnations,  sometimes  red  and  blue,  sometimes  orange;  the  buds  are 
red  or  orange,  the  leaves  green.  This  exceedingly  rich  diaper  pattern  is  framed 
by  a  strong  border  of  lambrequin  design,  in  which  the  splendid  iron  red  greatly 
v  predominates,  along  with  dark  blue  and  green. 

Height,  48  inches  ;  width,  48  inches. 


*1152  —  Square  Panel  of  Twenty  Wall  Tiles. 

Framed.  A  diaper  pattern  of  crossed  leaf  and  flower  sprays  in  red,  blue,  and  green  on 
a  white  ground  is  framed  by  a  rich  border  of  rose  and  carnation  design,  the 
roses  mainly  in  two  shades  of  blue,  the  carnations  in  two  shades  of  red,  the 
leaves  green,  on  a  white  ground.  This  uncommonly  naturalistic  border  has, 
yet,  a  splendid  decorative  effect. 

Height,  28  inches  ;  width,  28  inches. 

See  note  on  No.  1160. 


*1153  —  Square  Panel  of  Twenty-nine  Wall  Tiles. 

Framed.  A  diaper  of  fusiform  medallions,  outlined  with  blue  and  filled  with  arabesques 
in  green,  blue,  and  reserved  white,  on  a  ground  of  red,  separated  by  sprays  in 
the  same  colors;  has  a  border  similar  to  that  of  No.  1151. 

Height,  40  inches  ;  width,  40  inches. 


*See  foot-note  under  No.  1148. 


Mosque  Tiles 


Ancient  Persian  wall  tiles,  inscribed  with  passages  from  the  Koran,  from  a  niche  in  a  mosque, 
so  set  as  to  indicate  the  direction  of  the  Cubical  House,  or  temple,  at  Mecca,  towards  which  the 
Muslim  turns  in  prayer. 

From  Persia,  at  least  three  hundred  years  old.  Extremely  rare  and  valuable,  as  it  is  almost 
impossible  to  obtain  tiles  from  Mohammedan  mosques,  the  veneration  in  which  they  are  held  pre¬ 
cluding  their  sale,  to  non-believers  especially. 

Translation  of  the  inscriptions  is  by  Mr.  Abraham  Yohannan,  of  Columbia  University. 

(N.  B. — The  priest  recites  the  passages  of  the  Koran,  while  the  worshippers  pray,  facing  the 

niche.) 


1154  —  Large  Mosque  Tile. 

With  a  broad,  projecting  cornice  and  narrow  base.  It  bears  an  Arabic  inscription, 
in  raised  Nasch  letters,  in  blue,  on  a  ground  of  brown  lustre,  with  metallic 
reflections.  The  cornice  has  a  quincunx  of  trefoils  in  relief.  The  ground  is 
decorated  with  white  reserved  scrolls,  flowers,  and  leaves,  the  larger  leaves  tinted 
with  turquoise.  In  a  handsome  brass  frame.  Old  Persian  or  Anatolian(?). 

Height,  21^2  inches;  width,  19  inches. 

Translation:  “In  the  name  of  the  most  merciful  God.” 


1155  —  Large  Mosque  Tile. 

Similar  to  the  foregoing.  Framed  in  brass.  (Repaired.) 

Height,  21  inches;  width,  18  inches. 
Translation:  “  Whatever  is  in  [heaven  and  earth]  praiseth  God.” 

[These  two  slabs  contain  only  the  invocation  and  the  first  four  words, 
respectively,  of  Suras  Ixii.  and  lxiv.] 


1156  —  Large  Mosque  Tile. 

Framed  in  brass.  Similar  to  Nos.  1154  and  1155,  except  as  to  the  inscription  and 
the  background  decoration,  which  is  richer.  Birds  fly  among  the  foliated  scrolls 
that  twine  about  the  letters  of  the  inscription,  and  the  cornice  bears  a  design  in 
relief  of  nightingales  and  rose  bushes.  Old  Persian  or  Anatolian(P). 

Height,  17  inches;  width,  16  inches. 

Translation:  “A  fountain  [whereof  the  servants  of  God]  shall  drink.” 

[Being  the  first  two  words  of  Sura  lxxvi.,  verse  6.] 


1157  —  Pilaster. 

From  the  revetment  of  a  mosque.  It  is  composed  of  four  tiles  in  semicircular  relief, 
with  a  vase-shaped  capital,  and  bevelled  borders  bearing  inscriptions.  Pilaster 
and  capital  are  covered  with  interlaced  foliated  ornamentation  in  ultramarine 
and  turquoise,  on  a  ground  of  brownish  lustre,  with  rich  golden,  crimson,  and 
blue  reflections;  the  ground  strewn  with  delicate  leaf  and  flower  scrolls  in 
white,  reserved.  It  is  mounted  in  a  metal  frame.  Old  Persian  or  Anatolian(?). 

Height,  53  inches. 

(i)  “  Which,  therefore,  of  your  Lord’s  benefits  will  ye  ungratefully  deny?  We  will 
surely  attend  to  judge  you,  O  men  and  genii,  at  the  last  day.  Which,  therefore,  of 
your  Lord’s  benefits  will  ye  ungratefully  deny?  O  ye  collective  body  of  genii  and 
men,  if  ye  be  able  [section  missing]  deny?  (2)  This  is  hell,  which  the  wicked  deny 
as  a  falsehood;  (4)  they  shall  pass  to  and  fro  between  the  same  and  hot,  boiling 
water.  Which,  therefore,  of  your  Lord’s  benefits  will  ye  ungratefully  deny  ?  But 
for  him  who  dreadeth  the  tribunal  of  his  Lord,  are  prepared  two  gardens.  [Which, 
therefore,  of  your  Lord’s  benefits  will  ye  ungratefully  deny?]  Planted  with  shady 
trees.  Which,  therefore,  of  your  Lord’s  benefits  will  ye  ungratefully  deny?  In 
each  of  them  shall  be  two  fountains  flowing.  (3)  Which,  therefore,  of  your  Lord’s 
benefits  will  ye  ungratefully  deny?  In  each  of  them  shall  there  be  of  every  fruit 
two  kinds.  Which,  therefore,  of  your  Lord’s  benefits  will  ye  ungratefully  deny  ? 
They  shall  repose  on  couches,  the  linings  whereof  shall  be  of  thick  silk  interwoven 
with  gold;  and  the  fruit  of  the  two  gardens  shall  be  near  at  hand  together.” 

[Being  from  Sura  lv.,  verses  30  to  54  inclusive;  but  the  tile  has  here 
been  cut  into  sections  for  ease  in  removal  or  transportation,  and  verses  33  to 
43  are  wanting,  which  should  come  in  the  break  indicated.  Also,  in  piecing 
together,  the  third  and  fourth  sections  are  misplaced,  as  indicated  above. 
They  should  be  arranged  in  reverse  order.] 

(1)  “  In  the  name  of  the  most  merciful  God.  By  the  sun,  and  its  rising  brightness; 
by  the  moon,  when  she  followeth  him;  (2)  by  the  day,  when  he  showeth  his  splendor; 
by  the  night,  when  it  covereth  him  with  darkness;  by  the  heaven  and  Him  who  built 
it  [section  missing]  by  the  day,  when  it  shineth  forth;  by  Him  who  hath  created 
the  male  and  the  female;  verily  your  endeavor  is  different.  (4)  Now  whoso  is 
obedient,  and  feareth  God,  and  professeth  the  truth  of  that  faith  which  is  most  excel¬ 
lent;  unto  him  will  we  facilitate  the  way  to  misery;  and  his  riches  shall  not  profit 
him  when  he  shall  fall  headlong  into  hell.  Verily  unto  us  appertaineth  the  direc¬ 
tion  of  mankind;  (3)  and  ours  is  the  life  to  come  and  the  present  life.  Wherefore  I 
threaten  you  with  fire  which  burneth  fiercely,  which  none  shall  enter  to  be  burned, 
except  the  most  wretched;  who  shall  have  disbelieved  and  turned  back.  But  he  who 
strictly  bewareth  idolatry  and  rebellion  shall  be  removed  far  from  the  same;  who 
giveth  his  substance  in  alms.” 

[Being  parts  from  Sura  xci.  and  xcii.  This  side  corresponds  with  the 
other  side  above,  and  is  cut  into  similar  sections,  misplaced.  The  present 
order,  and  the  lacuna,  are  indicated.] 


1158  —  Memorial  Mosque  Tablet. 

In  the  form  of  a  doorway,  in  two  sections.  Above  the  pointed  trefoil  arch  are  two 
circular  openings,  reminding  one  of  Venetian  Gothic  architecture.*  The  arch 
springs  from  rounded  pilasters  with  vase  capitals,  like  No.  1145.  It  is  framed 
in  a  wide  border,  with  a  large  outer  moulding.  The  entire  tile  is  covered  with 
Arabic  inscriptions  in  raised  blue  letters,  excepting  on  the  pilasters,  where  the 


*  The  use  of  the  openings  is  to  lighten  the  masonry  above  the  arch. 


letters  are  reserved  in  white  from  the  general  ground  of  brown  lustre,  with 
rich  metallic  reflections.  Old  Persian  or  Anatolian(?). 

Height,  46 y2  inches;  width,  29  inches. 

Exhibited  at  the  Paris  Exposition  of  1878,  where  it  obtained  first  prize  in  its  class. 

“  In  the  name  of  the  most  merciful  God.  Verily  we  sent  down  the  Koran  in  the 
night  of  al  Kadr.  And  what  shall  make  thee  understand  how  excellent  the  night  of 
al  Kadr  is?  The  night  of  al  Kadr  is  better  than  a  thousand  months.  Therein  do 
the  angels  descend,  and  the  spirit  of  Gabriel  also,  by  the  permission  of  their  Lord, 
with  his  decrees  concerning  every  matter.  It  is  peace  until  the  rising  of  the  morn.” 

[Being  the  whole  of  Sura  xcvii.] 

“  God  hath  borne  witness  that  there  is  no  God  but  him;  and  the  angels  and  those 
endowed  with  wisdom  profess  the  same;  who  executeth  righteousness;  there  is  no 
God  but  him;  the  mighty,  the  wise.  Verily  the  true  religion  in  the  sight  of  God  is 
Islam;  and  they  who  had  received  the  Scriptures  dissented  not  therefrom.” 

[Being  the  sixteenth  and  first  part  of  seventeenth  Sura  iii. ] 

“  In  the  name  of  the  most  merciful  God.  Concerning  what  do  the  unbelievers 
ask  questions  of  one  another?  Concerning  the  great  news  of  the  resurrection,  about 
which  they  disagree.  Assuredly  they  shall  hereafter  know  the  truth  thereof.  Again, 
assuredly  they  shall  hereafter  know  the  truth  thereof.  Have  we  not  made  the  earth 
for  a  bed,  and  the  mountains  for  stakes  to  fix  the  same?  and  have  we  not  created 
you  of  two  sexes;  and  appointed  your  sleep  for  rest;  and  made  the  night  a  garment  to 
cover  you;  and  destined  the  day  to  the  gaining  of  your  livelihood;  and  built  over 
you  seven  solid  heavens;  and  placed  therein  a  burning  lamp?  And  do  we  not  send 
down  from  the  clouds  that  press  forth  rain,  water  pouring  down  in  abundance,  that  we 
may  thereby  produce  corn,  and  herbs,  and  gardens  planted  thick  with  trees  ?  Verily 
the  day  of  separation  is  a  fixed  period:  the  day  whereon  the  trumpet  shall  sound, 
and  they  shall  come  in  troops  to  judgment;  and  the  heaven  shall  be  opened,  and  shall 
be  full  of  gates  for  the  angels  to  pass  through;  and  the  mountains  shall  pass  away,  and 
become  as  a  vapor;  verily  hell  shall  be  a  place  of  ambush,  a  receptacle  for  the  trans¬ 
gressors,  who  shall  remain  there  for  ages;  they  shall  not  taste  any  refreshment 
therein,  or  any  drink  except  boiling  water,  and  filthy  corruption,  a  fit  recompense  for 
their  deeds!  For  they  hoped  that  they  should  not  be  brought  to  an  account,  and  they 
disbelieved  our  signs,  accusing  them  of  falsity.  But  everything  have  we  computed 
and  written  down.  Taste,  therefore:  we  will  not  add  unto  you  any  other  than  torment. 
But  for  the  pious  is  prepared  a  place  of  bliss:  gardens  planted  with  trees,  and  vine¬ 
yards,  and  damsels  with  swelling  breasts,  of  equal  age  with  them;  and  a  full  cup. 
They  shall  hear  no  vain  discourse  there,  nor  any  falsehood.  This  shall  be  their  rec¬ 
ompense  from  the  Lord — a  gift  fully  sufficient — from  the  Lord  of  heaven  and  earth, 
and  of  whatever  is  between  them;  the  Merciful.  The  inhabitants  of  heaven  or  of 
earth  shall  not  dare  to  demand  audience  of  Him;  the  day  whereon  the  spirit  Gabriel 
and  the  other  angels  shall  stand  in  order,  they  shall  not  speak  in  behalf  of  themselves 
or  others,  except  him  only  to  whom  the  Merciful  shall  grant  permission,  and  who  shall 
say  that  which  is  right.” 

[Being  the  first  thirty-eight  verses  of  the  Sura  lxxviii.] 


1159 — Ogival  Lunette ,  or  Entete  de  Fenetre ,  of  Sixteen  Polychrome  Wall  Tiles. 

A  ribbon-like  scroll,  of  conventional  cloud  forms  in  red,  forms  large  compartments, 
across  which  wind  more  regular  spiral  scrolls,  with  flowers,  mainly  blue,  varied 
with  red  and  white;  the  leaves  green,  veined  with  red  and  flowered  white;  the 
whole  on  creamy  white  ground.  The  border  is  the  Persian  running  scroll  of 
leaves  and  flowers,  in  the  same  colors,  on  a  ground  of  deep  blue. 

Height,  29  inches;  length,  56^  inches. 


See  note  on  No.  1160. 


1160 — Ogival  Lunette ,  or  E?itete  de  Fenetre. 

Similar  to  the  foregoing. 


Height,  29  inches  ;  length,  56^  inches. 

The  beautiful  wall  decorations  described  above  are  from  the  mosque  of  Rustem 
Pacha,  in  Constantinople,  obtained  through  the  courtesy  of  Mrs.  E.  C.  Hobson. 
“The  history  of  them  is  rather  interesting,”  writes  Mrs.  Hobson.  “A  French  den¬ 
tist  there  got  a  contract  from  the  Palace  to  repair  a  very  beautiful  little  mosque 
called,  I  think,  the  Rustem  Pacha  mosque,  built  by  a  grand  vizier  of  that  name  in 
memory  of  his  wife.  The  dentist  abstracted  a  large  quantity  of  the  tiles,  and 
replaced  them  by  imitation  ones  made  in  Paris.  He  died  soon  after,  and  I  pur¬ 
chased  them  through  the  good  offices  of  the  English  consul-general,  Mr.  - , 

a  great  collector,  and  considered  one  of  the  best  authorities  on  Eastern  art.  The 
entetes  des  fenetres  are  considered  most  rare  and  beautiful  ;  in  fact,  I  doubt  if  any 
like  them  ever  left  Constantinople  before.  The  narrow  blue  tiles  are  also  very  pre¬ 
cious  and  rare,  and  all  are  of  the  best  period  of  Turkish  manufacture.  .  .  .  Mr. 

- bought  a  few  for  the  Manchester  Museum.  .  .  .” 

It  is  to  be  observed  that  “Turkish”  does  not  necessarily  mean  of  Turkey  in 
Europe.  Tiles  similar  to  many  of  these  are  known  to  be  from  Kutahia,  in  Asia 
Minor,  which  has  been  a  centre  of  the  ceramic  industry  from  the  fourteenth  cen¬ 
tury,  when  it  was  introduced  there  by  Persian  potters. 


1188 


1190 


AW  Elsoni  Co., Boston 


Hispano- Moresque  and  Other 

Plates 


It  is  not  believed  that  much  of  this  ware  has  come  down  to  us  from  the  time  of  the  Moorish 
occupation  in  Spain;  but  much  of  it  may  have  been  made  between  the  Spanish  conquest  and  the 
expulsion  of  the  Moors,  and  in  places  the  Moorish  potters  were  specially  exempted  from  the  decree 
of  banishment.  The  mingling  of  Christian  and  Mahometan  emblems,  inscriptions,  etc.,  is  thus 
accounted  for. 

That  the  aljofainas ,  or  dishes,  were  made  rather  for  ornament  than  for  use  is  shown  by  the 
holes  for  suspension  which  almost  invariably  appear  in  the  rim,  and  which  were  made  by  the  potter 
before  firing  the  piece,  the  glaze  frequently  running  into  them. 

One  of  the  technical  peculiarities  of  Hispano-Moresque  is  the  modelling  by  repoussage , 
a  relief  on  one  side  of  the  piece  being  accompanied  by  a  depression  on  the  other.  The  lustre  in  the 
more  ancient  pieces  is  of  a  golden-yellow  cast,  showing  the  presence  of  silver  along  with  copper. 
In  the  later  pieces  copper  is  used  alone;  but  the  style  of  decoration,  very  broad  and  bold,  appears 
to  have  hardly  varied  from  the  beginning.  Something  like  it  is  found  on  old  Egyptian  lustred  pieces, 
and  on  the  very  oldest  Persian.  The  natural  objects  depicted  are  those  familiar  on  Persian  pottery 
— vine  leaves,  tulips,  carnations,  the  cypress,  birds,  fishes,  etc.  But  the  human  figure  is  unknown, 
and  there  is  no  sign  of  Chinese  influence  having  spread  farther  west  than  Anatolia. 


1161  — Circular  Dish. 

Buff  glaze,  copper  lustre,  with  varied  reflections.  The  design  is  of  birds  alighting 
among  sprays  of  carnations.  The  reverse  is  plain,  but  for  a  streak  which  is 
the  potter’s  trial  of  lustre  intended  for  another  batch  of  dishes. 

Diameter,  14^  inches. 


1162  —  Circular  Dish. 

With  sloping  rim  and  umbilicus  in  the  centre.  The  decoration,  in  brownish  lustre, 
with  golden  reflections,  shows  a  curtain  with  waving  vertical  stripes,  and  over 
it  two  large  flowers.  The  border  is  of  flowers  and  scrolls.  The  reverse  has  a 
large  spiral. 


Diameter,  15  inches. 


1163  —  Deep  Plate. 

With  a  bouquet  of  carnations  outlined  in  brownish  black,  the  leaves  blue  and  green,  the 
flowers  blue  and  liver  colored,  some  in  slight  relief.  The  border  has  Chinese 
cloud  scrolls  in  greenish  black,  with  touches  of  green  and  blue.  It  has  been 
liberally  decorated  in  gold.  The  reverse  has  detached  cloud  scrolls  in  blue 
and  green.  Early  Persian  polychromatic  ware,  sometimes  called  Rhodian. 

Diameter,  inches. 


1164 — Deep  Plate. 

Similar  to  the  foregoing,  but  with  the  fine  green  replaced  by  a  yellower  green,  en¬ 
livened  with  turquoise,  and  the  liver  color  by  pink;  no  gilding;  the  general 
effect  much  inferior.  Persian  or  Rhodian. 

Diameter,  10%  inches. 


1165  —  Platter. 

With  large  flat  rim,  and  umbilicus  in  centre ;  decorated  in  brownish  lustre,  with  varied 
golden,  blue,  and  ruby  reflections,  with  a  knob  of  leaves,  and  a  border  of  simu¬ 
lated  Gothic  inscription;  an  outer  border  of  spirally  arranged  compartments  in 
slight  relief,  with  flower  scrolls  and  flat  tint  alternating.  (Slight  repair.) 

Diameter,  13^  inches. 


1166 —  Platter. 

Similar  to  the  foregoing,  with  simulated  Gothic  inscription  about  a  central  boss.  The 
border  has  oblong  bosses  and  tulip  plants  in  relief,  with  fine  linear  decoration 
between,  in  pale  brownish  lustre,  which  shows  bright  golden,  greenish,  and 
crimson  reflections.  (Slight  repair.) 

Diameter,  13  inches. 


1167  —  Deep  Dish. 

With  broad,  sloping  rim,  and  umbilicus  in  centre.  On  the  rim  are  four  large  lobed 
leaves,  to  which  relief  has  been  given  by  deep  incisions  in  the  paste;  between 
them  are  closed  tulips  and  linear  flower  scrolls.  There  is  an  inner  border  of 
trefoils  and  other  plant  forms.  In  the  hollow  of  the  umbilicus,  on  the  reverse, 
is  a  convolvulus  flower,  surrounded  by  spiral  lines  and  free  leaf  decoration. 
Blue  and  silvery  reflections.  (Repaired.) 

Diameter,  iS'A  inches. 


1168  —  Deep  Circular  Dish. 

With  a  decoration  of  lozenge  squares  and  guilloche  pattern,  in  grayish-blue  and  brown 
lustre  with  green  and  gold  reflections.  The  reverse  is  similar  to  the  foregoing. 
(Repaired.) 


Diameter,  is  A  inches. 


1169  —  Circular  Dish. 

With  large  curving  rim,  and  umbilicus  in  centre.  The  latter  bears  an  open  tulip,  and 
is  surrounded  by  a  ring  of  scrolls  and  dots.  The  rim  has  a  ten-pointed  star, 
the  points  terminating  in  loops,  from  five  of  which  leaves  spread  out  laterally. 
The  lustre  is  of  a  brownish  yellow  with  golden  and  ruby  reflections.  The 
reverse  bears  a  spiral.  (Repaired.) 

Diameter,  15J4  inches. 


1170  —  Circular  Dish. 

Similar  to  the  foregoing,  but  with  a  blue  disk  on  the  umbilicus,  and  further  decorated 
with  alternate  bands  of  arabesques  and  guilloche  pattern,  interrupted  by  panels 
of  arabesques  on  blue.  (Repaired.) 

Diameter,  1 slA  inches. 


1171  —  Very  Deep  Circular  Dish. 

With  umbilicus  divided  by  cross  lines,  in  blue  and  copper  lustre,  into  four  compartments, 
filled  in  alternately  with  ornaments  in  blue  and  copper  and  in  copper  only. 
Reverse,  convolvulus  and  spiral.  Crimson  and  purple  reflections.  (Repaired.) 

Diameter,  15^  inches. 


1172 — Very  Deep  Circular  Dish. 

With  umbilicus.  The  rim  is  divided  by  four  large,  lobed  leaves,  relieved  by  incisions 
or  depressions  in  the  paste,  covered  with  lustre  with  purple  and  gold  reflections, 
and  outlined  heavily  with  deep  blue,  into  compartments  filled  with  jonquils  and 
other  flowers  in  lustre  on  the  buff  ground. 

Diameter,  15^  inches. 


1173  —  Circular  Dish. 

With  slight  umbilicus  in  the  centre,  with  a  twelve-petalled  flower,  alternately  blue 
and  lustred,  bordered  by  spirally  arranged,  detached,  serrate  leaves;  the  rim  has 
eight  bunches  of  leaves  in  relief,  outlined  in  blue.  The  lustre  is  yellowish 
brown  with  silvery  and  blue  reflections.  (Slight  repair.) 

Diameter,  16  inches. 


1174  —  Deep  Circular  Dish. 

With  narrow  rim,  with  a  regularly  balanced  design  of  hyacinths  and  carnations  in  blue, 
pink,  olive  green,  and  turquoise,  as  in  Nos.  1163  and  1164.  The  border,  of 
cloud,  leaf,  and  flower  shapes,  is  in  blue  and  olive.  The  reverse  has  detached 
flowers  and  groups  of  flowers.  Persian  or  Rhodian. 


Diameter,  14  inches. 


1175  —  Deep  Circular  Dish. 

The  rim  sloping  at  nearly  the  same  angle  as  the  bowl,  and  both  divided  into  sixteen 
wedge-shaped  compartments  by  ribs  in  relief,  filled  with  elaborate  linear  designs 
and  with  small  bosses  in  relief.  The  centre  has  a  shield  parted  in  four  and 
charged  with  rosettes.  The  lustre  is  a  yellowish  brown  with  silvery  reflec¬ 
tions.  These  dishes  are  usually  ascribed  to  Valencia. 

Diameter,  inches. 

Purchased  in  Spain,  in  1885,  for  Mr.  Marquand,  by  the  artist  Jose  Villegas. 


1176  —  Deep  Circular  Dish. 

With  convex  rim  and  umbilicus.  The  rim  has  large,  toothed  leaves  in  relief,  outlined 
in  blue;  the  leaves,  striped  blue  and  lustre,  alternating  with  others  in  lustre 
only,  and  two  panels  of  tulip  pattern.  The  lustre  is  yellowish  brown  with 
blue  and  violet  reflections.  (Repaired.) 

Diameter,  16  inches. 

1177  —  Circular  Dish. 

With  umbilicus  surrounded  by  a  simulated  inscription.  The  rim  bears  a  six-pointed 
star  with  trefoil-shaped  loops.  The  reverse  has  two  streaks  of  rich  green,  to 
test  the  color  for  a  different  batch  of  vessels.  The  lustre  is  yellowish  with 
greenish  and  purple  reflections. 

Diameter,  13^  inches. 

1178  —  Circular  Dish. 

With  conical  umbilicus,  decorated  on  the  top  with  a  carnation  flower  reserved  in  the 
brown  lustre.  The  border  is  of  spirally  disposed  panels  on  the  rim,  with  six 
large  four-lobed  leaves  in  relief,  and  colored  in  blue  and  lustre.  Reverse  like 
the  foregoing.  Golden  reflections. 

Diameter,  15^  inches. 


1179  —  Circular  Plate. 

With  slight  umbilicus  surrounded  by  simulated  inscriptions.  The  rim  has  tulip  plants 
and  flowers  in  relief,  in  blue  and  yellowish  lustre  with  blue  and  golden  reflec¬ 
tions.  (Repaired.) 

Diameter,  13^  inches. 

1180  —  Deep  Circular  Dish. 

With  concave  rim  and  umbilicus.  The  rim  is  decorated  with  toothed  leaves  outlined 
with  blue;  the  bowl  with  arabesques  and  guilloche  in  brown  lustre  with  green 
and  golden  reflections.  (Repaired.) 

Diameter,  15^  inches. 


1181  —  Circular  Dish. 

With  curving  rim  and  umbilicus,  decorated  with  a  shield  bearing  a  deer  in  brown  lustre, 
a  simulated  Gothic  inscription,  and  a  border  of  spirally  arranged  panels  with 
scale  pattern,  floral  design,  and  trefoils  in  lustre  and  blue.  The  lustre  has  purple 
and  crimson  reflections.  (Repaired.) 


Diameter,  15^  inches. 


1198 


AWElson  &  Ca,Boston 


1182  —  Circular  Plate. 

With  conical  umbilicus,  spirally  indented.  The  rim  has  large  four-lobed  leaves  in 
relief.  The  lustre  is  yellowish  brown  with  golden,  crimson,  and  blue  reflec¬ 
tions.  (Repaired.) 

Diameter,  i2j{  inches. 

1183  —  Circular  Plate. 

With  a  slight  umbilicus,  which  bears  a  shield  outlined  in  blue  and  charged  with  a  deer, 
as  in  No.  n8l.  The  decoration  is  of  spirally  disposed  panels  in  relief, 
flowers,  scale  pattern,  and  rosettes  in  blue  and  brown  lustre  with  silvery 
reflections. 

Diameter,  15  inches. 

Purchased  in  Spain,  in  1885,  for  Mr.  Marquand,  by  the  artist  Jose  Villegas. 


1184  —  Circular  Dish. 

With  umbilicus  surrounded  by  a  broad  ring  of  blue.  The  rim  has  a  fourteen-rayed 
star,  the  rays  terminating  in  lenticular  bosses.  The  outer  rim  is  blue.  Brown¬ 
ish  lustre  with  golden  iridescence.  (Slight  repair.) 

Diameter,  16  inches. 


1185  —  Deep  Circular  Dish. 

With  a  conical  umbilicus,  the  flat  top  of  which  has  a  carnation  flower  reserved  in  the 
brownish  lustre.  The  border  is  of  herbaceous  plants,  some  of  the  leaves  out¬ 
lined  in  blue.  Golden  and  crimson  reflections.  Reverse,  convolvulus  flower 
and  spiral.  (Slight  repairs.) 

Diameter,  16  inches. 

1186  —  Deep  Circular  Dish. 

With  sloping  rim  and  high  umbilicus.  The  field  of  the  bowl  is  divided  by  five  broad 
bands  of  lustre,  the  intervening  spaces  filled  with  pomegranates  in  blue  and 
lustre,  and  leaves  in  the  latter.  The  rim  is  similarly  divided  in  four.  The 
lustre  is  brownish  with  silvery  reflections. 

Diameter,  16  inches. 

1187  — Deep  Circular  Dish. 

With  umbilicus  bearing  a  carnation  flower  reserved  in  the  orange-brown  lustre.  The 
bowl  has  scrolls  and  leaves,  some  outlined  in  blue;  the  rims,  four-lobed  leaves, 
and  feather-like  ornaments  thrown  into  relief  by  indentations  in  the  paste. 
Blue  and  crimson  reflections. 

Diameter,  16  inches. 

1 188  —  Circular  Dish. 

Similar  to  No.  1175;  but  the  flat  centre  has  been  covered  with  a  floral  decoration  in 
lustre,  now  nearly  effaced.  The  original  holes  for  suspension  have  been  filled 
in,  and  there  is  a  very  neat  ancient  repair.  Copper  lustre  with  golden  and 
pink  reflections.  Valencia. 

Diameter,  I7j£  inches. 

Purchased  in  Spain,  in  1885,  for  Mr.  Marquand,  by  the  artist  Jose  Villegas. 


1189  —  Deep  Circular  Dish. 

With  umbilicus  bearing  a  four-petalled  flower  in  reserve.  The  other  decoration  con¬ 
sists  of  detached  leaves  and  flowers,  some  in  relief.  Brown  lustre  with  blue 
and  crimson  reflections. 

Diameter,  15^  inches. 


1 1 90  —  Circular  Dish. 

With  conical  umbilicus,  the  flat  top  bearing  a  flower  reserved;  the  side  spirally 
indented.  The  border  is  of  leaves,  separated  by  bands  of  guilloche  pattern; 
the  lustre  brown  with  crimson  and  blue  reflections.  On  the  reverse  are  the 
usual  convolvulus  and  spiral.  (Repaired.) 

Diameter,  16  inches. 


1190a  —  Circular  Dish. 

With  umbilicus  bearing  a  design  of  a  cypress  tree  and  vine.  The  rim  has  a  thirteen- 
pointed  star  bearing  lobes,  three  of  which  are  painted  blue.  The  remainder 
of  the  decoration  is  in  yellowish  lustre  with  golden  and  pearly  iridescence. 
Reverse,  a  spiral.  Hispano-Moresque. 

Diameter,  16  inches. 

I  190b  —  Circular  Dish. 

With  umbilicus  bearing  a  conventional  flower.  The  rim  has  spirally  arranged  lobes  in 
slight  relief,  alternately  charged  with  rude  flower  designs  or  covered  with  lustre. 
The  lustre  is  yellowish  with  golden  and  pearly  iridescence.  Hispano-Moresque. 
(Repaired.) 

Diameter,  16  inches. 

1 1 90c  —  Circular  Dish. 

Large  circular  plaque  of  faience.  Painted  in  blue  and  yellow  with  religious  subjects; 
St.  Veronica’s  towel  with  the  head  of  Christ  in  the  centre,  with  a  border  of 
angels  in  an  arcade,  and  smaller  borders  of  oves  and  wave  pattern.  Italian. 
(Repaired.) 

Diameter,  18  inches. 


1191  —  Large  Plate. 

Antique  Persian  faience,  invested  with  a  soft  ivory-white  glaze.  Decoration  of  Chinese 
inspiration.  The  centre  medallion  is  composed  of  an  interlaced  diaper  pattern 
in  turquoise  and  cobalt  blue.  A  wide  outer  border  of  clouded  blue  is  orna¬ 
mented  with  finely  drawn  floral  and  leaf  scrolls  in  turquoise-blue  enamel  and 
white  reserve.  Reverse,  a  border  of  tree  peonies  amid  elaborate  leaf  scrolls, 
painted  in  fine  under-glaze  blue.  Sixteenth  century. 

Diameter,  15  inches. 


1192  —  Plate. 


Old  Delft.  Pale  buff  ground,  with  roses,  tulips,  and  leaf  scrolls  rudely  drawn  in 
cobalt  blue. 


Diameter,  13^  inches. 


1199 


1193  —  Plate. 

Old  Delft.  Decoration  of  floral  and  leaf  scrolls  in  cobalt  blue  on  a  soft  creamy 
ground. 

Diameter,  inches. 


1194  —  Plate. 


Old  Delft.  Rudely  drawn  decoration  of  flowers,  palm,  and  other  designs,  painted  in 
cobalt  blue  on  a  white  ground. 

Diameter,  13J4  inches. 


1195  —  Old  Delft  Plate. 


Covered  with  a  green  glaze.  Decoration  of  flowers,  willow  tree,  and  rocks,  rudely 
drawn,  and  painted  in  cobalt  blue. 

Diameter,  12  inches. 


1196  —  Deep  Plate. 

Old  Chinese  pure  white  hard  paste.  Decoration  of  Chinese  warriors  on  horseback, 
willow  tree,  and  conventional  designs  in  fine  under-glaze  blue.  Reverse,  floral 
sprays  and  sceptre-head  ornaments  in  mazarin  blue.  Six-character  mark, 
Ch’eng-hua,  1465-1487. 

Diameter,  15  inches. 


1197  —  Large  Plate. 

Old  Imari.  In  the  centre  medallion,  blooming  peonies  and  chrysanthemum.  Wide 
outer  border,  decorated  with  lotus  amid  elaborate  leafy  scrolls.  All  of  the 
ornamentations  in  under-glaze  blue  of  dark  and  light  tints. 


Diameter,  22  inches. 


Terra-cottas  by  Della  Robbia 

1198  —  Madonna  and  Child. 

In  glazed  terra-cotta.  Three-quarters  figure  of  Madonna  holding  nude,  standing 
child,  whose  arms  are  about  her  neck.  The  figures,  in  high  relief,  are  cov¬ 
ered  with  a  fine  white  glaze,  and  are  set  in  a  niche  glazed  in  light  blue.  Both 
mother  and  child  have  blue  eyes.  The  curved  surface  of  the  niche  and  its 
outer  faces  are  decorated  with  a  superficial  gilding  representing  vertical  panels, 
floral  scrolls,  rosettes,  and  coats  of  arms.  By  Luca  della  Robbia.  Fifteenth 
century. 

Height,  i  foot  6^  inches  ;  width,  I  foot  3 inches. 

From  the  collection  of  Emile  Gavet,  Paris. 

The  general  conception,  as  well  as  the  pose  and  modelling,  link  this  with  some 
of  the  best  known  Madonnas  of  Luca  della  Robbia.  It  was  first  published  in  the 
“  American  Journal  of  Archaeology,”  1894,  p.  14;  then  by  Dr.  Bode  in  the  “  Denk- 
maler  Renaissance  Sculptur  Toscanas,”  Taf.  229;  in  the  “Jahrbuch,  k.  p.  Kunst- 
sammlungen,”  1900,  p.  23;  in  the  “  Florentiner  Bildhauer  der  Renaissance,”  1902, 
p.  170;  and  by  Marcel  Reymond  in  his  “Les  della  Robbia,"  1897,  p.  204,  and 
“La  Sculpture  Florentine,”  Seconde  Moiti6  du  XV6  Si£cle,  p.  174.  A  similar 
Madonna,  with  slight  variations,  is  in  the  collection  of  Mr.  Quincy  Adams  Shaw, 
in  Boston. 


1199  —  Medallion  Portrait  of  a  Young  Man. 


Glazed  terra-cotta.  Life-size  bust  of  a  young  man,  with  face  turned  towards  his  right 
shoulder.  The  head  is  glazed  in  white,  the  tunic  in  colors.  The  background 
is  a  rich  blue,  and  the  surrounding  frame  a  polychrome  wreath  of  leaves  and 
fruit.  By  Andrea  della  Robbia.  Fifteenth  century. 

Diameter,  1  foot  10  inches. 

From  the  collection  of  Count  G.  Stroganoff. 


Portrait  busts  of  a  similar  type  are  found  in  the  Berlin  Museum  and  the  collec¬ 
tion  of  Prince  Liechtenstein  in  Vienna.  The  Berlin  bust  is  attributed  by  Dr.  Bode 
to  Luca  della  Robbia  in  the  “Jahrbuch  k.  p.  Kunstsammlungen,”  1900,  p.  31; 
“Florentiner  Bildhauer  der  Renaissance,”  1902,  p.  187. 


1200  —  Boy  with  a  Dolphin. 

Boy,  glazed  in  white,  holds  a  blue  dolphin  over  his  shoulder.  The  palmette  below  is 
glazed  in  green.  In  the  works  of  the  Robbia  school,  putti  of  similar  type  were 
frequently  employed  in  the  decoration  of  large  reliefs,  where  they  were  repre¬ 
sented  as  bearing  garlands.  By  Andrea  della  Robbia.  Fifteenth  century. 

Height,  x  foot  8  inches. 

From  the  collection  of  Count  G.  Stroganoff. 


1200 


AW  Els  on  &CcLBostcvr. 


1201  —  Life  -size  Statue. 

In  colored  faience.  A  child,  seated,  playing  with  a  butterfly  and  a  tulip.  By 
Francois  Duquesnoy. 

Francois  Duquesnoy,  an  excellent  Flemish  sculptor,  born  at  Brussels  in  1594, 
was  better  known  by  the  name  of  Francois  Flamand.  About  1619  he  went  to  Rome, 
where  he  became  an  intimate  friend  of  Nicolas  Poussin  and  worked  many  years. 
He  excelled  in  the  representation  of  infants,  and  was  considered  by  some  as  the  best 
sculptor  of  his  time.  Among  his  masterpieces  are  statues  of  Saint  Susanna  in  Rome, 
and  of  Saint  Andrew  in  the  basilica  of  Saint  Peter’s.  He  was  on  his  way  to  Paris, 
whither  he  had  been  invited  by  Richelieu,  when  he  died  at  Leghorn  in  1646.  The 
Mus6e  de  Cluny  contains  several  of  his  works. 


1202  —  Oil  Pamting  on  Glass. 

“  The  Annunciation.”  The  Virgin  kneels  at  a  prie-dieu  at  the  foot  of  a  bed.  The 
angel  enters  with  lily  branch  and  dove.  The  Father  leans  out  of  a  circle  of 
cherubim  surrounded  by  clouds.  The  painting  is  on  the  back  of  a  thick  pane 
of  glass  cast  to  shape.  French.  Sixteenth  or  early  seventeenth  century.  In 
a  carved  frame  of  the  same  period. 

Height,  17 y2  inches;  width,  i6}4  inches. 

This  manner  of  painting  succeeded  the  early,  slightly  fired  gilt  and  painted 
designs  under  glass.  The  process  is  the  reverse  of  that  usual  in  painting  in  oils; 
that  is  to  say,  the  outlines  and  accents  are  first  painted,  the  broad  masses  next,  and 
the  background,  frequently  gilt,  as  here,  last  of  all.  It  allows  of  no  retouching. 
This  is  an  uncommonly  beautiful  example  of  a  rare  and  interesting  branch  of  art. 


1203  —  Carved  and  Gilt  Frame. 

Of  architectural  design,  with  base,  pilasters,  frieze,  and  semicircular  pediment  all 
richly  decorated;  the  frieze  with  children  and  grotesques,  the  tympanum  with 
angels,  and  a  rising  sun  bearing  the  letters  I  H  S.  The  ornamentation  is 
carved  in  the  wood,  and  not,  as  is  frequently  the  case,  in  gesso. 

Height,  39  inches  ;  width,  19^  inches. 


1204  —  Byzantine  Panel 

The  little  plaster  panel,  nearly  square,  is  enclosed  within  a  frame  of  thin  silver  ham¬ 
mered  into  a  design  of  scroll  work,  bordered  with  bands  of  ornament.  The 
Madonna  is  represented  seated  on  a  circular-backed  throne  decorated  with  a 
diaper  of  minute  pattern.  She  holds  up  two  fingers  of  her  right  hand,  and  has 
her  left  around  the  body  of  the  infant  Saviour,  who  is  seated  on  her  arm,  resting 
his  feet  on  her  lap,  and  holding  up  a  hand  in  the  act  of  blessing.  Behind  the 
throne  stand  two  angels,  one  holding  a  sceptre.  The  whole  groundwork  is  of 
gold,  on  which  the  figures  are  pencilled  in  brown,  the  flesh  parts  being  modelled 
with  exquisite  delicacy,  and  the  draperies  and  accessories  glazed  with  vermilion 
and  overlaid  with  a  minute  network  of  ornamental  designs. 


1205 — Louis  XVI.  Clock. 


A  globe  of  blue  lustre,  with  a  zone  in  white  enamel  for  the  hours,  and  ornaments  of 
clouds  and  foliage  in  ormolu,  is  surmounted  by  a  cupid  and  supported  by  figures 
of  the  three  Graces  in  dark  bronze,  enlaced  with  chains  of  flowers  in  ormolu; 
on  a  triangular  base  of  white  marble,  richly  ornamented  with  anthemions  and 
floral  scrolls  in  ormolu. 

Height,  28 inches. 

Bought  for  Mr.  Marquand  by  the  late  Richard  M.  Hunt. 


1206 —  Old  Venetian  Stamped  Leather  Wall  Hanging. 

Large  diaper  pattern  in  silver  and  blue,  with  two  shields  armorial,  surmounted  by 
cardinal’s  hats.  Some  small  pieces  restored. 


1207  —  Antique  Mosaic  Panel. 

Of  marble  mosaic,  showing  four  antique  masks — comic,  tragic,  satyric,  and  Dionysiac 
— under  a  thyrsus  and  shepherd’s  crook  crossed,  from  which  depend  a  Pan’s 
pipe  and  cymbals  or  tambourine.  The  design  is  bordered  with  a  fret  pattern, 
interrupted  by  scattered  branches,  with  rosettes  at  the  corners. 

Length,  40  inches;  width,  29  inches. 

Bought  in  Rome,  1888. 


1208  —  Panoply  of  Arms. 

Shield,  helmet,  gauntlets,  cuirass,  spurs,  chain  and  ball,  mace,  swords,  halberts,  of 
various  shapes,  the  principal  pieces  engraved  with  various  ornamental  designs. 


1209  —  Panoply  of  Arms. 

Helmet,  cuirass,  and  other  arms;  not  decorated. 


1210 — Suit  of  Plate  Armor. 

With  shirt  of  chain  mail  and  long  sword. 


1211  —  Suit  of  Plate  Armor. 

The  cuirass  and  other  parts  engraved  with  armorial  bearings  and  ornamental  designs; 
with  a  shirt  of  chain  mail  and  long  sword. 


1212  —  Large  Old  Italian  Water  Jar. 

With  a  mottled  green  glaze  over  a  reddish  body.  It  has  two  ribbed  handles,  a  band  of 
lozenge  decoration  in  relief  about  the  shoulder,  and  is  further  decorated  with 
a  rosette  and  an  escutcheon  bearing  the  arms  of  the  Medici  family. 

Height,  34  inches. 


1205 


A.WElson  &.  Cc.Bostori 


1207 


1213 — Large  Old  Italian  Water  Jar. 

Similar  to  the  preceding.  It  bears  inscribed  the  name  “Gaetan  Lottini,”  probably  that 
of  the  maker. 


1214 — Marble  Statue  U  Inspiration. 

A  youthful  female  figure  of  life  size,  seated,  singing,  and  playing  on  a  harp  of 
antique  shape.  The  figure  is  of  marble,  the  harp  of  silvered  bronze;  the 
base  is  of  dark  red  marble.  By  Jean  Gautherin.  Dated  1887. 

Commissioned  for  Mr.  Marquand  by  the  late  Richard  M.  Hunt.  Exhibited  by 
the  artist  at  the  Salon,  Paris,  1887. 

Jean  Gautherin,  born  at  Ouroux  NiSvre,  was  a  pupil  of  Gumery,  Dumont,  and 
of  M.  P.  Dubois,  and  the  recipient  of  numerous  honors. 


1232 


SEVENTH  AFTERNOON'S  SALE 


(i CONCLUDING  SESSION) 

Saturday,  January  31st,  1903 

BEGINNING  PROMPTLY  AT  2.30  O’CLOCK 

Embroideries  and  Textiles 

1225 —  Japanese  Cloth-of-gold  “  Kin-KobP 

Scroll  and  floral  designs  on  an  olive-brown  ground. 

Length,  40  inches  ;  width,  20  inches. 

1226  —  Italian  Medici  Panel. 

Bold  floral  scrolls,  in  ruby  red,  on  cloth-of-gold  ground. 

Length,  29  inches  ;  width,  24  inches. 

1227  —  Japanese  Cut  Velvet  Panel. 

Arabesque  and  diaper  patterns,  in  green,  red,  black,  and  white,  on  a  terra-cotta  ground. 

Length,  84  inches  ;  width,  28  inches. 

1228 —  Two  Lengths  of  Japanese  Silk  Crepe. 

Jade-green  ground,  with  peacocks,  rabbits,  and  Grecian  key  pattern,  in  dark  green  and 
brown. 


1229  —  Antique  Khiva  Silk  Velvet  Panel. 

Green  and  salmon-pink  stripes,  with  borders  of  archaic  design. 

Length,  34  inches  ;  width,  21  inches. 


1230 —  Unique  Specimen  of  Persian  Velvet — Early  Fifteenth  Century. 

Conventional  flowers  and  birds,  in  beautiful  tones  of  red,  olive,  pink,  and  yellow,  on 
cloth  of  silver.  Framed  in  mahogany;  under  glass. 

Length,  21  inches  ;  width,  13  inches. 


1231  —  Fragment  of  Venetian  Cut  Velvet — Fifteenth  Century. 

Floral  and  scroll  medallions,  in  cloth  of  gold,  on  a  field  of  ruby  red.  Framed  in 
mahogany ;  under  glass. 

Length,  34  inches  ;  width,  25  inches. 


1232  —  Rich  Venetian  Velvet  Panel — Sixteenth  Century. 

Star-shaped  centre  medallions,  surrounded  by  palmettes  and  conventional  designs  in  green 
and  gold,  on  a  brilliant  crimson  ground.  Framed  in  mahogany;  under  glass. 

Length,  48  inches  ;  width,  27  inches. 


1233 —  Jardiniere  Cut  Velvet  Panel — Louis  XV. 

A  medallion,  with  bunches  of  grapes  and  vine  leaves,  bordered  with  festoons  of  flowers 
and  lace  designs,  dainty  sprays  and  foliage  in  emerald  green,  violet,  mauve,  and 
white,  on  cloth  of  gold.  Framed  in  mahogany;  under  glass. 

Length,  44  inches  ;  width,  24  inches. 

1234 —  Chalice  Veil — French,  Seventeenth  Century. 

The  embellishment  consists  of  an  elaborate  cross  in  the  centre  and  four  corner  orna¬ 
ments,  embroidered  in  silver  thread,  and  the  sacred  carnation  and  tulip,  exquisitely 
executed  in  silk  needlework,  the  whole  on  a  cream-white  silk  ground.  Edged 
with  silver  lace.  Framed;  under  glass. 

Length,  28  inches  ;  width,  22  inches. 


1235  —  Italian  Renaissance  Panel. 


Arras  embroidery  of  bold  floral  scrolls,  coat  of  arms,  cranes,  and  fruit  designs,  in  various 
colors  of  silk,  on  a  gold  ground. 


Length,  43  inches  ;  width,  19  inches. 


1237  —  Length  of  Japanese  Silk  Brocade. 

Branches  of  peonies,  in  gold  and  green,  on  a  rich  brown  ground. 

Length,  18  yards  ;  width,  27  inches. 


1238 — Venetian  Dalmatic  —  Seventeenth  Century. 

Rich  brocade,  with  gold,  silver,  and  colored  flowers.  Silver  galloon  trimming. 


1239  —  Italian  Chasuble  —  Seventeenth  Century. 

Elaborate  floral  and  leaf  scrolls,  embroidered  in  gold,  on  cloth  of  silver.  Bears  a  car¬ 
dinal’s  coat  of  arms. 


1240  —  French  Court  Dress  —  Louis  Ouinze. 

Rich  gold  and  silver  brocade  of  floral  design.  Trimmed  with  gold  lace. 


1241  —  Italian  Panel. 

Elaborate  floral  scrolls  and  medallion,  embroidered  in  gold  and  silver  thread  and  silk,  on 
red  velvet.  Gallooned  and  fringed. 


Length,  80  inches  ;  width,  14  inches. 


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A  W.Elson  &  Co  ,Boston 


1242 — French  Table  Cover — Louis  XV. 


Red  damask,  ornamented  with  crests,  bold  corner  ornaments,  and  other  designs,  embroid¬ 
ered  in  gold  thread  and  silks.  Heavily  fringed  and  bordered. 

Length,  63  inches  ;  width,  38  inches. 


1243 — Japanese  Table  Cover „ 

Brown  satin.  Rich  embellishment  of  peacock  with  spreading  tail,  embroidered  with  gold 
threads ;  borders  and  corners  ornamented  with  flowers  and  birds  worked  in  low 
tones  of  silks.  Heavy  fringe  border. 

Length,  69  inches  ;  width,  69  inches. 


1244 — French  Bed  Coverlet. 


Cut  velvet,  with  conventional  floral  and  leaf  scrolls,  in  two  shades  of  brown,  on  tcru 
ground. 


Length,  7  feet  4  inches  ;  width,  5  feet  4  inches. 


1245  —  Early  Renaissance  Coverlet. 

Cream-color  silk,  elaborately  embroidered  with  sacred  flowers  and  foliated  scrolls,  in 
gold  thread  and  green,  yellow,  brown,  and  blue  silks. 

Length,  7  feet  4  inches  ;  width,  6  feet. 


1246  —  Early  Renaissance  Curtains. 

A  set  of  four,  to  match  the  preceding. 


Length,  7  feet  8  inches  ;  width,  3  feet  8  inches. 


1247 — Early  Renaissance  Lambrequin  and  Panel. 

A  set  of  drapery  for  a  bedstead  canopy,  to  match  the  preceding. 

Lambrequin  :  Length,  19  feet  6  inches  ;  width,  11  feet  7  inches. 
Panel :  Height,  6  feet  2  inches  ;  width,  5  feet  9  inches. 


1248  —  Renaissance  Genoese  Cut  Velvet  Coverlet. 

Rich  Venetian  design  of  vases  of  flowers,  bold  foliated  scrolls,  and  rampant  lions, 
symbolical  of  Beauty,  Industry,  and  Strength,  in  ruby  red,  on  an  old-gold  ground. 
Heavy  fringe  border. 

Length,  8  feet ;  width,  7  feet  9  inches. 


1249  —  Persian  Manilouka,  or  Portiere  —  Seventeenth  Century. 

Floral  scrolls,  birds,  and  conventional  designs,  embroidered  in  various  colors  of  silks,  on 
red,  blue,  and  fawn-color  cloths. 

Length,  7  feet  4  inches  ;  width,  4  feet  4  inches. 


1250 — Venetian  Coverlet — Seventeenth  Century. 

Brocade  with  large  flowers,  palmettes,  leaf  and  lace  patterns,  in  gold  thread  and  cream- 
color  silk,  on  a  brilliant  green  ground.  Trimmed  with  gold  galloon. 

Length,  6  feet  6  inches  ;  width,  6  feet. 


1251  —  Italian  Panel — Seventeenth  Century. 

Known  as  arras  embroidery.  Bold  Florentine  scrolls,  flowers,  and  a  coat  of  arms— two 
cupids  holding  a  shield— worked  in  colored  silks,  on  gold  ground  of  solid  needle¬ 
work.  Fringed  border. 

Length,  60  inches  ;  width,  40  inches. 


1252  —  Turkish  Shawl. 

Rare  specimen  of  Cashmere  weaving.  Natural  pashmana  camel’s-hair  cloth,  richly 
embellished  with  an  elaborate  floral  design,  skilfully  embroidered  in  various  silks 
and  gold  and  silver  thread. 

Length,  go  inches  ;  width,  52  inches. 


1253  —  Spanish  Bed  Coverlet — Seventeenth  Century. 

Arabesques,  medallions,  and  geometrical  designs,  embroidered  on  rose  silk  and  white 
satin;  border  embellished  with  various  lace  patterns  in  silver  thread. 

Length,  6  feet  2  inches  ;  width,  5  feet  3  inches. 


1254  —  Renaissance  Altar  Frontal. 

Medici  cut  velvet  of  rich  ruby  red,  profusely  ornamented  with  a  cross  and  conventional 
floral  designs,  in  intricate  silver  and  gold  bullion  lacework  in  high  relief. 

Length,  84  inches  ;  width,  26  inches. 


1255  —  Italian  Altar  Frontal — Sixteenth  Century. 

Bold  Florentine  scrolls,  with  study  of  lilies  and  birds,  embroidered  in  gold  thread  and 
fine  tones  of  green,  yellow,  pink,  and  blue  silks,  on  a  silver  ground.  In  the 
centre  is  a  medallion  illustrating  the  scene  of  Christ  being  seized  by  Pontius 
Pilate’s  soldiers.  An  extraordinary  specimen  of  solid  needlework. 

Length,  70  inches  ;  width,  36  inches. 


1256  —  Early  Italian  Renaissance  Portiere. 

Embroidered  in  raised  gold  on  ruby-red  velvet.  A  centre  medallion,  formed  by  a  cluster 
of  grapes,  surrounded  by  a  laurel  wreath  and  floral  scrolls ;  and  pendants  and 
corner  pieces  of  floral  and  conventional  design. 

Length,  6  feet  10  inches ;  width,  5  feet. 

1257  —  Portuguese  Bed  Coverlet — Seventeenth  Century. 

Profusely  embroidered  in  beautiful  tones  of  turquoise  blue,  red,  cream,  and  other  colors, 
on  ecru  silk.  The  embellishment  consists  of  scrolls,  flowers,  and  a  medallion 
containing  a  basket  of  flowers,  two  cupid’s  heads,  and  the  inscription,  “  Post 
Exactam  Hiemem,  1606.”  Blue  satin  and  fringe  border. 

Length,  8  feet  6  inches  ;  width,  7  feet  4  inches. 


1258  —  Italian  Bed  Coverlet — Seventeenth  Century. 

Bold  floral  and  leaf  scrolls,  embossed  on  ruby-red  velvet.  Fringed  border. 

Length,  9  feet  2  inches  ;  width,  7  feet  8  inches. 


A"WElson  &.  Co, Boston 


1259  —  Indo-Portuguese  Bed  Coverlet — Seventeenth  Century. 

Semi-oriental,  elaborately  ornamented  with  the  conventional  lotus,  shi-shi  lions,  fleur- 
de-lis,  coronets,  and  a  medallion  containing  an  eagle  in  flight,  supporting  a  young 
girl.  All  embroidered  in  various  silks  and  gold  threads,  on  crimson  satin. 

Length,  9  feet  5  inches  ;  width,  6  feet  8  inches. 

1260 — Elaborate  Portuguese  Baldachino  —  Sixteenth  Century. 

Hindo-Persian  design  of  embroidery,  in  various  shaded  silks  of  finely  blended  colors,  on 
ruby-color  velvet.  The  embellishment  consists  of  sacred  flowers,  leaf  scrolls,  and 
conventoinal  patterns,  surrounded  by  a  wide  border  of  turquoise  blue,  and  a  narrow 
border  of  sapphire  blue. 

Length,  13  feet ;  width,  5  feet  6  inches. 

1261  —  Italian  Renaissance  Panel . 

Specimen  of  ecclesiastical  needlework.  The  design  is  a  repetition  of  medallions  with 
coats  of  arms  on  a  background  representing  various  sacred  flowers  and  offerings, 
all  embroidered  in  colored  silks  and  gold  and  silver  threads.  Framed  in  mahog¬ 
any  ;  under  glass. 

Length,  6  feet  3  inches ;  width,  5  feet. 

1262  —  Pair  Empire  Tapestry  Panels. 

Vase  filled  with  flowers  and  fruits,  on  red  ground. 

Length,  4  feet;  width,  4  feet. 


1263  —  Sicilia?!  Bed  Coverlet  —  Seventeenth  Century. 

Elaborate  decoration  of  lilies,  floral  scrolls,  and  paroquets,  forming  a  centre  medallion 
and  four  corner  ornaments,  all  embroidered  in  floss  silk  of  brilliant  colors,  on  a 
canary-yellow  moire  silk.  Black  net  and  embroidered  border. 

Length,  8  feet  6  inches  ;  width,  5  feet  10  inches. 

1264 — Pair  Italian  Medici  Door  Curtains . 

Brilliant  red  cut  velvet  on  cloth  of  gold.  Bold  scrolls,  conventional  lilies,  carnations, 
and  cornucopias  filled  with  offerings,  forming  the  design. 

Each  strip  :  Length,  7  feet  8  inches  ;  width,  3  feet  10  inches. 


1265  —  Indo-Portuguese  Coverlet  —  Seventeenth  Century. 

Bold  floral  designs  and  leaf  scrolls,  embroidered  (chain  stitch)  in  silks  of  various  colors. 
Framed  in  a  harmonious  border,  and  edged  with  fringe. 

Length,  9  feet  3  inches  ;  width,  6  feet. 


1266  —  Pair  French  Brocade  Door  Curtains — Louis  XIV. 

Floral  bouquets  and  silver  foliage,  on  cream  ground,  bordered  with  cloth-of-silver  brocade. 
Lined  and  gallooned. 

Each  strip  :  Length,  7  feet  10  inches ;  width,  3  feet  10  inches. 


1267  —  Large  Italian  Carpet  —  Early  Sixteenth  Century. 

Embroidered  (cross  stitch)  in  silk;  geometrical  and  bold  floral  designs,  in  blue,  yellow, 
white,  and  brown,  on  a  ground  of  shaded  green. 


Length,  21  feet;  width,  n  feet. 


Rare  Oriental  Rugs 


In  the  matter  which  occupies  the  ensuing  pages  effort  is  made  to  discuss  the  rugs  of  this  quite 
extraordinary  collection  in  their  relationship  to  such  others  as  they  are  akin  to  in  origin,  design,  color¬ 
ing,  or  epoch;  and  references,  I  hope  not  too  frequent,  have  been  made  to  the  several  pieces  by  their 
catalogue  numbers.  It  seems  reasonable  to  believe  that,  at  least  to  persons  interested  in  the  study  of 
rugs,  the  comparisons  thus  instituted  will  be  suggestive,  and  not  devoid  of  instruction.  From  the  col¬ 
lector’s  standpoint  the  value  of  this  plan  lies  in  establishing  a  concrete  significance,  in  making  of  the 
collection  a  unit.  Its  comprehensiveness  is  thus  emphasized.  In  the  light  of  this  treatment  it  will  be 
seen  that  in  making  his  collection  the  owner  undertook  to  secure  representative  pieces  from  all  the  rug¬ 
making  sections  of  the  East.  There  are  typical  rugs  of  high  class  from  the  shores  of  the  Bosphorus 
and  from  China,  from  the  Caucasian  fastnesses  now  dominated  by  Russia  and  from  the  Indian  looms, 
from  the  steppes  and  from  Persia. 

Personally,  I  am  not  a  little  surprised  to  find  here  such  small  representation  of  the  fine  Turkoman 
weavings  which  are  held  in  high  esteem  by  the  modern  East,  and  the  best  of  which,  now  almost 
unobtainable,  might  have  been  had  when  this  collection  was  being  made.  But  this  lack  must  be  consid¬ 
ered  merely  as  an  expression  of  individual  preference  on  the  part  of  the  owner,  and  whatever  weakness 
the  collection  shows  in  this  or  any  regard  is  far  more  than  counterbalanced  by  the  presence  of  so  many 
and  so  venerable  Persian  masterpieces  of  a  sort  which  cannot  now  be  got,  even  in  the  remotest  East, 
upon  any  terms  whatsoever. 

Certain  of  these  have  been  taken  as  subjects  of  color-plates  for  the  forthcoming  edition  of 
“Oriental  Rugs,”  and  through  the  courtesy  of  the  publishers  of  that  work,  the  Messrs.  Scribner,  the 
editors  of  this  catalogue  are  enabled  to  present,  in  the  folio  copies,  important  illustrations,  which, 
besides  serving  a  high  purpose  in  ornamentation,  cannot  fail  to  be  of  signal  value  to  collectors  in  the 
time  to  come.  Thanks  are  due  to  Dr.  Richard  J.  H.  Gottheil  for  translation  of  the  inscriptions  in  Rug 
No.  1305. 

A  word  should  be  said  concerning  the  knots,  the  number  of  which  to  the  square  inch  is  indicated 
in  the  comments  upon  each  fabric.  Where  these  are  omitted,  persons  familiar  with  rug  construction  will 
recognize  that  the  pieces  are  not  of  a  piled  texture.  Such,  for  example,  are  the  Sehna  Khilim  (No. 
1279)  and  a  Soumak  rug  (No.  1293).  The  texture  in  both  of  these  is  more  nearly  akin  to  the  tapestry 
method  used  on  the  French  looms.  The  number  of  knots  to  the  square  inch  in  the  piled  rug  is  ascer¬ 
tained  by  counting  those  on  the  warp  and  weft  respectively.  The  result  obtained  by  multiplication  of 
these  necessarily  gives  the  total  number  of  knots  to  the  square  inch.  There  are  two  varieties  of  knots 
used  in  most  Asiatic  fabrics,  though  some  slightly  different  methods  are  affected  by  India  weavers. 
These  two  chief  methods  are  known  as  Turkish  and  Persian.  The  difference,  as  seen  in  the  finished 
fabric,  is  that  in  the  Turkish  knot  two  yarn  ends  of  the  pile  come  up  between  each  two  threads  of  the 
warp;  in  the  Persian,  only  one.  The  Persian  knot  makes  a  finer  fabric,  and,  when  light  yarns  are  used, 


1284 


allows  of  a  greater  number  to  the  inch.  With  the  Turkish  method,  which,  however,  is  used  in  many 
parts  of  Persia,  great  solidity  is  often  obtained  by  doubling  the  yarn.  The  Tabriz  method,  which  the 
Tabrizlis  have  unquestionably  borrowed  from  the  Kurds,  involves  a  peculiar  arrangement  of  the  warp, 
which  enables  them  to  secure  all  the  Persian  fineness,  while  the  knot  is  actually  of  the  other  sort. 

This  combination  of  the  two  systems  produces  fabrics  which,  while  containing  sometimes  as  high 
as  four  hundred  knots  to  the  square  inch,  are  oftentimes  hard  and  rigid  almost  beyond  belief. 

JOHN  KIMBERLY  MUMFORD. 

New  York,  October  20,  1902. 


1268 — Samarkand  Mat. 


Length,  3  feet  8  inches ;  width,  2  feet. 

30  hand-tied  knots  to  the  square  inch. 


Many  of  the  Samarkand  and  Kashgar  rugs  are  purely  Chinese  in  design,  and  the  raw  Chinese  colors  are 
used  in  them.  All  the  ornamentation  of  this  rug  has  been  washed  and  faded  out,  except  the 
one  small  figure  in  the  centre.  Traces  of  other  lines  may  be  discerned,  and  on  the  back  of  the 
rug  some  splashes  of  green  and  magenta  show  where  the  big  Mongol  patterns  have  been.  As 
an  aesthetic  item,  this  fragment  of  Middle  Asiatic  weaving  compels  admiration.  The  yellow  is 
superb,  and  the  single  relic  of  the  design,  standing  out  so  boldly  upon  it,  is  a  masterpiece  of 
simple  effect. 


1269  —  Small  Rug  of  Laristan. 


Length,  4  feet  9  inches ;  width,  3  feet  8  inches. 

180  hand-tied  knots  (Turkish)  to  the  square  inch. 


An  exquisite  small  rug.  It  is  possible  that  a  broad  border  stripe  and  an  outer  narrow  stripe,  companion 
to  the  one  which  remains,  are  missing ;  but  one  end  of  the  fabric,  the  best  preserved,  seems  to 
indicate  that  it  is  not  a  fragment,  but  followed  the  old  Persian  idea  of  having  one  narrow 
border  for  small  rugs,  guarded  only  by  a  very  fine  figured  stripe  on  either  side.  There  is 
a  magnificent  deep  blue  ground,  with  the  repeated  pear  pattern  in  the  bold,  tree-like  form 
common  to  this  section ;  and,  over  all,  a  richness  of  effect  and  a  refinement  which  challenge 
admiration.  The  narrow  lines  which  enclose  the  border  stripe  are  figured  with  a  peculiar 
curved  hook,  laid  slantwise  to  the  axis.  The  one  positive  departure  from  regularity  in  de¬ 
sign  is  the  inversion  of  three  of  these  hooks  about  midway  on  one  side  of  the  rug.  This  is 
prompted  by  superstition.  The  retention  of  a  blue  tone  in  the  pear  patterns,  with  the  addition 
of  a  touch  of  greenish  blue,  contributes  much  to  the  beauty  of  the  whole.  To  the  lover  of 
the  spontaneous  native  fabrics  of  the  East,  this  piece  will  seem  in  some  ways  one  of  the  most 
praiseworthy  in  the  collection. 


1270  —  Old  Kuban  Mat. 


Length,  3  feet  10  inches;  width,  3  feet  3  inches. 

63  hand-tied  knots  (Turkish)  to  the  square  inch. 

A  quaint  and  most  attractive  bit  of  Caucasian  coloring,  although  age  and  hard  service  have  almost 
ended  its  period  of  utility  as  a  floor  covering.  In  shape  and  design  the  rug  follows  the 
Shirvan  variety,  and  the  quality  of  its  warp  suggests  the  same  derivation.  The  cotton  selvage 
at  the  sides,  however,  indicates  the  weaving  of  Kuba,  a  district  which  lies  the  other  side  of  the 
mountains,  northward  from  the  old  Shirvan  khanate,  and  in  which  the  fine  Kabestan  rugs  are 
made.  The  shading  of  some  of  the  colors  corroborates  this  conclusion,  since  the  Kabestan 
weavers  affect  this  trick  of  the  wool  to  a  greater  extent  than  any  others  in  the  Caucasus. 

The  feature  is  the  striking  contrast  afforded  by  the  narrow  border  stripes  and  the  rest  of 
the  rug.  These  stripes  present  the  characteristic  reciprocal  trefoil,  or,  better,  “spade  ”  pattern, 
common  as  a  border  figure  in  many  of  the  Caucasian  and  Transcaucasian  fabrics,  and  in  some 
high-class  Persian  fabrics  besides,  notably  the  Sarabands. 

The  superstitious  nature  of  the  weaver  is  shown  in  the  substitution  of  a  rich,  strong  blue  in 
the  border  at  one  end  of  the  rug,  entirely  at  variance  with  the  color  of  the  rest  of  the  design.  It 
is  believed  that  such  sudden  breaks  in  the  color  scheme  are  potent  averters  of  ill  fortune. 


1271  —  Shirvan  Sedjadeh . 

Length,  4  feet  8  inches;  width,  3  feet  6  inches. 

63  hand-tied  knots  (Turkish)  to  the  square  inch. 


The  Shirvan  standard  is  fairly  represented  in  this  small  piece,  which  resembles  in  many  respects  the 
Kuban  mat  just  described.  The  design  throughout  is  characteristic  of  the  Eastern  Caucasus. 
The  three  octagons  united  to  form  a  central  medallion  are  familiar ;  the  border  is  in  a  pattern 
common  to  Shirvan.  For  the  rest,  the  conventional  figures  are  found.  The  color,  too,  is  in 
accord  with  the  requirements  for  rugs  of  this  district. 


1272  —  Tekke  or  “ Bokhara  "  Rug. 

Length,  5  feet  4  inches ;  width,  3  feet  8  inches. 

168  hand-tied  knots  (Persian)  to  the  square  inch. 

An  excellent  example  of  the  thorough  textile  work  of  Turkestan.  There  is  no  wool  superior  to  that 
of  the  northern  plains,  where  these  rugs  are  woven ;  no  craftsmanship  more  thorough  and  hon¬ 
est  than  that  occasionally  found  among  the  hordes  who  only  a  comparatively  little  time  ago, 
under  Russian  compulsion,  ceased  from  their  national  diversion,  or  occupation,  of  man-stealing. 
This  particular  rug  has  seen  some  violent  usage,  though  not  badly  worn  down.  The  cuts,  made 


possibly  in  some  affray,  have  not  yet  been  properly  repaired ;  but  the  merit  of  the  piece,  in  spite 
of  these  defects,  is  patent.  The  rope,  made  from  strands  of  the  foundation  yarns,  indicates 
that  it  was  used  for  a  hanging,  to  divide  the  kibitka,  or  tent,  into  little  apartments ;  thus  its 
superior  quality  is  in  a  measure  accounted  for. 


1273  —  Shirvan  Sedjadeh. 

Length,  4  feet  10  inches;  width,  3  feet  10  inches. 

80  hand-tied  knots  (Turkish)  to  the  square  inch. 

Two  features  appear  in  this  rug — one  in  the  coloring,  the  other  in  the  texture — to  indicate  an  influence 
foreign  to  the  locality  where  it  was  woven.  In  dimension,  general  design,  and  material,  both  of 
pile  and  foundations,  it  is  of  the  Shirvan  order.  The  finishing,  particularly  of  the  sides,  and 
the  rather  extraordinary  shading  of  the  colors  all  through  the  rug,  are  wholly  suggestive  of  the 
Kabestans.  It  is  not  the  custom  in  any  other  part  of  the  Caucasus  to  take  such  liberties  in  the 
modulation  of  the  colors  as  has  been  indulged  in  so  successfully  here.  It  will  be  noticed  that 
one  end  of  the  rug  is  an  entirely  different  color  proposition  from  the  other,  a  transmutation 
accomplished  by  toning  down  some  of  the  color  values  and  changing  others  gradually  by 
admixture  of  converting  tingents,  until  the  whole  complexion  of  the  fabric  is  changed.  Take 
first  the  red,  which  at  one  end  is  of  a  very  positive  and  substantial  cast.  It  is  softened  little  by 
little  until  it  becomes  a  rose  pink ;  the  blue  of  the  narrow  border  stripe,  which  starts  out 
strongly,  becomes  lighter  and  lighter  by  almost  imperceptible  degrees,  and  then  by  the  care¬ 
fully  regulated  addition  of  yellow  a  green  is  secured  almost  precisely  complementary  to  the  rose 
tint.  All  the  actual  blue  that  remains  when  this  has  been  accomplished  is  in  the  small  patterns 
and  interlineations.  An  interesting  feature  of  the  design  is  the  use  of  the  serrated  diamond 
shape  so  much  in  vogue  in  the  old  Circassian  and  Mingrelian  rugs,  which,  strangely  enough,  is 
found  in  great  profusion  in  the  Navajo  blankets  of  our  own  land.  With  the  exception  of  the 
swastika,  there  is  perhaps  no  perfect  decorative  device  more  widely  distributed  than  this. 


1274  —  Fine  Shirvan  Prayer  Rug . 

Length,  5  feet  9  inches;  width,  3  feet  9  inches. 

130  hand-tied  knots  (Turkish)  to  the  square  inch. 

While  not  of  great  age,  this  small  worship  carpet  is  of  decidedly  antique  quality,  both  in  texture  and 
coloration.  It  is  one  of  the  ingenious  rugs,  most  frequent  in  Kurdistan  and  the  Caucasus,  in 
which  a  set  pattern,  many  times  repeated  (in  this  case  it  is  the  tarantula  device),  is  so  modified 
by  the  arrangement  of  the  colors  that  it  seems  at  first  glance  a  wholly  different  thing.  In 
many  rugs  of  Kurdistan,  whose  weavers  are  adepts  in  all  the  tricks  of  color,  one  device  will  be 
scattered  throughout  the  entire  field  of  the  carpet,  but  so  differing  in  coloration  that  no  two 
can  be  found  precisely  alike.  The  Caucasian  weaver  has  not  done  quite  so  much  in  this  rug, 
but  the  general  effect  is  the  same.  The  small,  serrated  diamond  shape,  referred  to  in  remarks 
on  No.  1273  as  a  Caucasian  device,  is  found  here  doing  duty  as  a  star.  In  many  Tcherkess 
prayer  carpets,  and  sometimes  in  those  of  Kulah,  in  Western  Asia  Minor,  this  figure,  in  diminu¬ 
tive  form,  is  strewn  throughout  all  the  space  above  the  prayer  arch,  to  represent  the  spangled 
heavens. 

Another  token  of  the  devotional  character  of  this  rug  is  the  small,  long-spouted  water  ewer 
which  every  devout  Mussulman  uses  for  the  washings  attendant  upon  devotions.  In  four  places 
here  the  figure  of  the  ewer  is  found. 


—  Antique  Persian  Prayer  Rug. 

Length,  5  feet  6  inches;  width.  4  feet  3  inches. 

323  hand-tied  knots  (Persian)  to  the  square  inch. 

This  is  a  rug  which  has  seen  vastly  more  hard  usage  than  the  flowery  Shiraz  (No.  1285),  but  in  design  it 
belongs  to  a  somewhat  later  age  and  a  less  luxurious  neighborhood.  That  it  came  from  farther 
north  is  not  to  be  doubted  ;  for  the  stars  which  fill  the  small  outer  border — symbols  of  divinity — 
are  chiefly  used  by  Turanian  peoples.  More  of  cabalism  than  of  the  pure  nature  worship  is  indi¬ 
cated.  The  repeated  horizontal  shape,  to  be  sure,  is  found  in  the  “  water,”  or  narrowest  stripe, 
of  both  this  and  the  floral  prayer  rug ;  but  that  is  well-nigh  their  only  point  of  likeness.  The 
Herat  border  is  suggested  in  broad,  striking  leaf  patterns;  but,  singularly  enough,  the  leaves  are 
arranged  in  such  manner  as  to  form  the  Chinese  cloud  band,  itself  a  symbol  of  deity.  Some  of 
the  common  flowers  are  retained,  but  the  vines  which  accompany  them  are  heavy  and  rectangu¬ 
lar.  The  arch  is  of  a  heavier  and  plainer  type,  and  instead  of  the  earlier  tree-of-life  shape  found 
in  the  other  places,  the  sides  of  the  field  here  contain  the  straight  pillars  of  a  mosque,  with  care¬ 
fully  drawn  but  severe  hexagonal  bases  and  capitals,  and  a  simple  diamond  design  formed  by  zigzag 
lines  running  up  and  down  the  shafts.  From  the  peak  of  the  arch  hangs  the  plainest  of  temple 
lamps,  suspended  by  a  realistic  chain.  The  strongest  Persian  feature  of  the  rug  is  the  running 
vine,  with  flowers,  in  the  spandrels  of  the  arch.  Persians  taught  the  Ghiordes  weavers  to  do  the 
same  thing  with  the  space  above  the  arches  of  their  prayer  rugs,  and  the  horizontal  panel  at  the 
top  of  the  field  is  also  found  in  most  Ghiordes  pieces.  (See  No.  1286.) 

The  solid  centre  of  rich  maroon  makes  a  striking  contrast  with  the  cream  border  and  its 
bold  leaf  patterns.  Old  and  worn  as  the  rug  is,  for  it  has  seen  much  service,  it  is  a  splendid  bit 
of  color,  and  of  a  type  so  strong  that  it  and  others  closely  resembling  it  have  been  chosen  for 
reproduction  in  the  high-class  modern  silk  pieces  both  of  Anatolia  and  Persia. 


— Fine  Sehna  Sedjadeh. 

Length,  5  feet  1 1  inches ;  width,  4  feet  3  inches. 

484  hand-tied  knots  to  the  square  inch. 

• 

With  the  exception  of  the  Sehnas  there  are  no  Persian  rugs  which — save  now  and  then  as  an  oddity — 
show  the  Herat  pattern  on  a  white  or  cream-tinted  ground.  It  is  impossible  for  piled  rugs  in 
wool  to  contain  much  finer  texture  than  that  which  prevails  in  Sehna  pieces  of  this  character, 
and  even  this  fineness  could  hardly  be  obtained  on  any  save  a  silk  or  linen  warp.  As  fabrics  they 
are  unsurpassable ;  the  only  criticism  to  which  they  are  ever  open  is  that  the  dyes  used  in 
them  are  not  always  of  the  most  enduring.  The  color  effect  of  the  Sehnas  of  this  high  class  is 
usually  as  soft  and  delicate  as  the  texture  is  hard  and  unyielding ;  but  the  color  softness  is 
secured  by  distribution  of  the  various  hues  in  minute  areas,  for  which  the  fine  knot  is  indispen¬ 
sable.  To  lend  still  greater  emphasis  to  this  characteristic  the  pile  is  trimmed  very  short.  It 
would  be  natural  to  infer  from  this  that  they  were  delicate  and  could  sustain  only  a  limited  amount 
of  wear.  The  multitude  of  compact  knots  and  the  vigorous  twisting  of  the  fine  wool,  which  reduces 
it  almost  to  the  hardness  of  linen,  seem  to  have  obviated  this,  and  it  is  a  fact  that  the  antique 
Sehna  shows  wear  as  little  as  many  of  the  heavy  nomad  rugs  with  pile  yams  several  times  as  long. 

The  typical  Sehna  coloring  is  preserved  in  the  border  of  this  rug,  but  the  patterns  which 
carry  it  are  not  those  commonly  used.  The  upright  leaves  on  either  side  of  the  rosettes  are 
unusual.  The  number  of  stripes  is  noticeably  large.  The  colored  stitching  in  the  web  at  the 
ends  is  the  work  of  Kurdistan,  found  also  in  the  khilim  (No.  1279) ;  and  the  nomadic  separate 
patterns,  strewn  through  ground  and  border,  are  evidence  of  origin. 


1277  —  Shirvan  Prayer  Rug. 

Length,  5  feet  1  inch;  width,  4  feet  2  inches. 

132  hand-tied  knots  (Turkish)  to  the  square  inch. 

Another  of  the  clean-cut,  bright,  and  attractive  prayer  carpets  woven  in  the  eastern  part  of  the  Caucasus 
and  along  the  southwestern  shore  of  the  Caspian  Sea.  This  lattice  formation  is  quite  char¬ 
acteristic  also  of  the  Daghestan  province ;  in  fact  most  of  the  prayer  rugs  of  the  Caucasian  dis¬ 
tricts  are  in  this  general  fashion,  the  difference  lying  mainly  in  shape,  borders,  and  textile  char¬ 
acteristics.  In  general  this  rug  closely  resembles  No.  1274,  save  that  the  latter  is  a  trifle  longer 
in  proportion  to  its  width,  as  the  Daghestans  commonly  are,  and  shows  a  slightly  different  texture. 


1278  —  Kulah  Prayer  Rug. 

Length,  5  feet  1 1  inches ;  width,  4  feet. 

90  hand-tied  knots  (Turkish)  to  the  square  inch. 

The  pure,  undisputed  Kulah  is  ordinarily  of  coarser  texture  than  the  Ghiordes,  and  is  usually  dis¬ 
tinguishable  by  the  preponderance  of  this  peculiar  shade  of  yellow.  It  is  not,  it  will  be  observed, 
the  golden  yellow  of  Kurdistan,  but  a  more  tawny  hue,  a  clear  development  from  the  bronze 
and  saffron  yellows  of  Eastern  Anatolia  and  the  Mesopotamian  country.  In  these  rugs  there 
is  seldom  any  liberal  display  of  red,  or  green,  or  pure  white.  The  color  almost  invariably 
employed  to  relieve  the  yellow  is  blue,  and  this  is  found  in  two  values,  light  and  dark.  The 
latter  is  in  most  cases  used  as  a  ground  color  for  the  centre,  but  even  there  it  is  a  different 
deep  blue  from  that  found  in  the  centre  of  many  Ghiordes  rugs.  A  note  of  Persian  realism  is 
found  in  this  rug,  in  the  use  of  pale  green  for  certain  of  the  flower  stems ;  but  the  design,  from 
first  to  last,  is  in  the  prescribed  Turkish  forms.  The  profile  flower  is  found  here  and  the 
eight-pointed  star.  The  narrow  Kulah  stripes  are  limited  in  number,  the  broad  stripe  being 
substituted,  with  a  tree  element  in  the  peculiarly  heavy  form  common  to  the  primitive  decora¬ 
tion  of  Turkish  peoples,  in  Turkestan  and  in  other  parts  of  middle  Asia.  But  the  “  life  ”  idea 
is  still  prominent. 


1279  —  Selina  Khilim . 

Length,  6  feet  4  inches;  width,  4  feet  6  inches. 

In  this  piece,  nomad  Kurd  women  of  Ardelan  Province  have  made  strenuous  effort  to  copy  the  fine- 
patterned  khilims — or  two-sided  coverings — made  by  the  town  weavers  of  Sehna.  The  mark 
of  the  mountain  Kurds  is  the  colored  stitching  of  wool  run  through  the  webbing  at  the  end. 
In  design  and  color  the  type  has  been  followed  with  considerable  fidelity.  The  khilim  of 
which  this  is  a  copy  was  without  doubt  one  of  high  class,  even  for  Sehna,  to  judge  from  its 
complicated  design.  There  is  a  double  medallion,  the  outer  one  marked  off  with  serrations, 
such  as  are  found  in  the  Herez  fabrics  of  Azerbijan  as  well  as  some  from  Shiraz  and  from 
parts  of  the  Caucasus.  This  outer  medallion  is  filled  with  the  small  repeated  plant  design 
common  in  so  many  piled  rugs  of  Northern  Kurdistan,  so  arranged  as  to  form  a  diagonal  lattice- 
work.  The  corner  spaces  and  the  ground  of  the  inner  medallion  hold  a  modified  Herat,  or 
“  fish  ”  pattern,  which  is  one  of  the  most  common  things  in  the  Sehna  khilims,  and  is  ordinarily 


used  as  a  diaper  design  covering  the  whole  body  of  the  fabric.  This  “  fish  ”  pattern,  and  the 
“pear”  or  “cone  ”  figure  are  about  the  only  forms  ordinarily  used  in  the  Sehna  rugs  of  recent 
times.  The  tree  or  plant  pattern  is  quite  unusual  in  these  fabrics,  and  constitutes  an  undeni¬ 
able  proof  of  authorship.  The  coloring — the  rose  color,  yellows,  and  greens — is  all  very  true  to 
type ;  and  the  puckered  effect  of  the  texture  caused  by  persistent  twisting  of  the  yarn  is,  I 
think,  found  in  no  other  fabric  besides  the  Sehnas.  In  these  it  marks  both  the  khilims  and  the 
backs  of  the  piled  or  tufted  rugs. 


1280  —  Kill  ah  Hearth-piece. 

Length,  6  feet  5  inches;  width,  4  feet  5  inches. 

88  hand-tied  knots  (Turkish)  to  the  square  inch. 

Here  is  the  characteristic  yellow  and  blue  of  Kulah,  also  the  stripe  effect.  But  in  the  centre 
heavy  figures  are  used,  balanced  by  the  more  substantial  broad  stripes  in  the  borders  and  the 
rude  Turkish  shapes  in  the  end  panels  of  the  centre.  The  idealism  which  everywhere  through¬ 
out  the  East  finds  its  most  studied  expression  in  the  prayer  rugs  is  here  abandoned,  and,  with 
seeming  disregard  for  the  Sunnite  prejudice  against  depiction  of  the  actual,  the  wide  border 
stripe  has  been  made  up  of  a  crude  landscape  comprising  trees  and  an  altar.  Even  when  they 
are  taken  singly,  some  imagination  is  required  to  discern  the  verisimilitude  of  these  groups,  and 
the  weaver’s  timidity  has  made  it  still  more  difficult.  The  pattern  is  repeated,  but  inverted  each 
time,  so  that  what  was  originally  a  picture  becomes  a  running,  conventional  thing,  without  par¬ 
ticular  likeness  to  any  recognized  element  in  design. 

Elsewhere,  something  is  said  of  the  custom  among  Eastern  tribes  of  weaving  the  self-same 
designs  in  their  mgs  generation  after  generation.  It  is  well  verified  and  illustrated  in  this 
carpet.  A  small  rent  or  burned  place  has  been  patched  with  a  piece  of  another  mg.  The 
pattern  corresponds  almost  perfectly.  This  may  be  found  far  more  frequently  in  the  fabrics  of 
the  Turkoman  and  Tartar  races  than  of  the  Persian,  in  whom  there  is  more  of  originality. 


1281  —  Fine  Antique  Rug  of  IVestern  Persia . 

Length,  8  feet  1  inch ;  width,  6  feet  5  inches. 

168  hand-tied  knots  (Persian)  to  the  square  inch. 

Although  genuinely  old,  and  embodying  some  of  the  highest  features  of  Persian  textile  design,  this 
rug  will  scarcely  take  rank  with  some  others  in  the  collection.  Although  old,  it  is  a  copy ; 
a  copy,  moreover,  not  of  one  rag,  but  of  two ;  both  of  them,  however,  extremely  old.  It  was 
made  probably  not  less  than  two  hundred  years  ago,  and  was  intended  for  an  important  fabric. 
The  best  carpets  obtainable  were  used  as  patterns.  The  field  is  perfect  in  arrangement,  and 
the  mathematical  nicety  with  which  the  difficult  distribution  of  the  animals  is  accomplished 
gives  evidence  of  mastery  in  design  such  as  was  possessed  by  none  save  royal  weavers.  The 
animals  are  placed  in  horizontal  groupings,  and  each  of  these  groupings  is  repeated  in  every 
fourth  row.  The  axis  of  the  rag  is  indicated  by  a  lotus  flower  at  the  bottom  of  the  field  and  a 
pair  of  gazelles  at  the  top.  The  deep  crimson  in  the  field  is  further  proof  that  the  central 
design  was  copied  in  its  entirety ;  but  that  is  as  far  as  the  integrity  extends.  The  border,  with 
its  green  ground,  is  the  sixteenth  century  Ispahan  border,  similar  to  those  of  Nos.  1310  and  1314  ; 
but  its  alternation  of  big  figures  is  broken,  and  one  of  the  two  main  elements  appears  twice  in 
succession.  To  avoid  the  cartouche  inscriptions  which  ordinarily  fill  the  borders  of  the  animal 
carpets,  the  weaver  adopted  the  conventional  Shah  Abbas  border,  but  he  copied  it  from  a  carpet 


larger  than  that  from  which  the  central  design  has  been  taken,  and  neglected  to  reduce  it  to 
the  smaller  scale.  Nothing  was  left  him,  when  he  saw  that  he  was  coming  out  with  border 
goods  to  spare,  but  to  cut  out  a  section  on  each  side  and  preserve  the  corners.  This  he  did. 
Instead  of  the  vine  and  flower  which  find  place  in  such  carpets  as  Nos.  1282,  1284,  and  1305, 
here  is  the  solid  ground  of  coppery  yellow  always  so  common  in  the  Kurdish  and  so-called 
Mosul  rugs,  and  upon  this  a  simple  rectilinear  device,  remotely  resembling  a  flower,  repeated 
throughout  the  entire  length  of  the  stripes.  These  borders  would  be  far  more  at  home  in  a 
Mosul,  Kurdish,  or  “  Tzitzi  ”  rug  than  in  a  copy  of  the  most  ornate  fabrics  known  in  centuries. 


1282 — J/ery  Fine  Old  Carpet  of  Middle  Persia. 

Length,  9  feet  9  inches;  width,  8  feet  5  inches. 

400  hand-tied  knots  (Persian)  to  the  square  inch. 

It  is  easy  to  discern  the  relationship  between  this  carpet  and  No.  1284,  and  equally  easy  to  know  which 
is  the  parent  fabric,  even  if  the  softened  colors  of  the  larger  piece  did  not  answer  the  question. 
Contrasted  with  this  older  weaving,  No.  1284,  beautiful  as  it  is,  seems  hard  and  meagre.  The 
spontaneity  and  profusion  of  the  old  time  are  apparent  in  No.  1282,  albeit  the  design  is  a  set 
one  and  repeated  in  rows,  as  in  No.  1284,  and,  a  century  or  two  later,  in  No.  1283. 

It  is  best  to  go  at  once  to  the  borders  for  comparison,  and  it  is  seen  that  the  border  of 
No.  1284,  with  its  affectation  of  the  Ispahan  green  and  its  mechanically  accurate  pattern,  with 
the  seed-pods  of  the  lotus  as  chief  feature,  is  a  new  invention.*  The  main  border  of  No.  1282, 
with  its  dainty  vine  and  recurrent  flowers,  is  reduced  in  size  and  made  to  serve  for  the  narrow 
guard  stripe  in  No.  1284. 

In  the  field  of  No.  1284,  as  has  been  said,  there  is  but  one  pattern,  but  in  the  parallel  rows 
these  patterns  do  not  fall  abreast.  Here  in  No.  1282  the  patterns  in  the  alternating  rows  differ 
materially.  The  motive  is  the  same  in  both ;  but  one  is  wider  in  sweep,  larger  in  detail,  and 
more  complicated. 

Just  here  attention  must  be  called  also  to  No.  1285.  In  floral  character  it  bears  a  marked 
likeness  to  No.  1282  ;  but  the  particular  element  to  be  noticed  is  the  solid,  curved  band  of  large 
flowers  growing  out  from  the  single  stem.  In  No.  1282  it  emanates  from  the  curved  diamond 
shape,  and  may  be  taken  as  the  measure  of  comparative  size  for  the  major  and  minor  row 
patterns,  since  in  the  first  it  contains  five  blossoms  and  in  the  second  only  three. 

In  addition  to  the  leaves,  laid  back  to  back,  as  seen  in  No.  1284,  another  leaf  element  ap¬ 
pears  here — four  curved  leaves  radiating  from  a  rosette  which  is  set  in  the  centre  of  the  diamond. 
The  big  floral  masses  of  the  major  row  grow  out  from  this  centre,  being  bound  at  the  bottom, 
as  it  were,  by  the  heavy  flower  band  mentioned  above,  which  regulates  the  curve  of  the  stalks 
and  the  spread  of  the  flowers,  much  as  it  does  in  the  prayer  rug,  No.  1285.  The  lily  forms  have 
here  a  more  ornate  treatment,  being  adorned  with  a  yellow  centre.  The  henna  flower  is  not  a 
stilted,  set  pattern  as  it  is  in  No.  1284,  and  in  all  succeeding  rugs,  down  to  the  modern  Feraghan. 
On  the  contrary,  it  has  usually  only  three  blossoms  to  a  stalk  ;  but  where  five  are  allowed,  a  quiet, 
unobtrusive  color  is  used,  plainly  in  order  to  keep  the  device  in  its  proper  subordinate  relation 
to  the  rest  of  the  design. 

It  will  be  seen  that  the  border  on  one  side  of  the  rug  has  been  removed  and  carefully  sewed 
on  again,  and  examination  will  reveal  that  one  entire  row  of  the  field  design  has  been  cut  out. 
It  is,  of  course,  useless  to  speculate  on  the  cause  for  this  ;  but  the  rug  without  doubt  suffered  some 
accident,  and  the  repairer,  recognizing  the  utter  impossibility  of  restoring  it,  took  what  seemed 
to  him  the  next  best  course  and  removed  the  damaged  part  altogether.  The  joining  is  so  well 
done  that  at  first  sight  it  would  hardly  be  noticed.  The  important  point  in  connection  with  it  is 
that  in  its  original  shape  the  rug  was  perhaps  broader  than  it  was  long.  This  implies  a  special 
use,  and  it  is  not  at  all  unlikely  that  the  piece  was  woven  for  the  covering  of  a  dais  or  a  throne. 


1283  —  Old  Feraghan  Rug. 


Length,  6  feet  3  inches ;  width,  4  feet  3  inches. 

182  hand-tied  knots  (Persian)  to  the  square  inch. 

A  most  unusual  specimen  of  the  Feraghan  weaving.  The  border  and  general  appearance  are  charac¬ 
teristic,  but  the  light,  bluish-green  ground  in  two  shades  is  a  rarity.  What  especially  interests 
us  is  that  here  in  rectilinear  treatment  is  the  Guli  Hinnai  figure  of  flowers  on  a  stalk,  referred 
to  in  No.  1284,  only  that  here  the  stalk  has  seven  blooms  instead  of  five,  and  is  in  upright 
arrangement,  as  it  appears  in  the  Guli  Hinnai  design  of  to-day.  This  rug,  if  studied  carefully, 
will  give  ample  proof  of  the  relation  to — or  rather  descent  from — the  fine  silk  piece  next  follow¬ 
ing,  and  also  the  one  which  follows  that  piece.  The  curving  vines,  which,  in  the  other,  had  in 
a  way  survived  from  a  more  opulent  period,  are  lost  here ;  but,  looking  carefully  along  one  end 
of  the  field,  one  may  find  the  same  lily-shaped,  light-colored  flowers  referred  to  as  terminating 
each  pattern  in  Nos.  1282  and  1284.  The  plum-colored  flowers  are  here,  too.  This  color  is 
almost  a  Feraghan  property,  so  universally  does  it  appear  in  the  old  weavings  of  that  district, 
in  some  cases  as  a  corner  ground  color.  Practically  every  feature  of  No.  1284  can  be  found 
here,  though  in  a  debased  form.  The  clear  definition  is  lost.  The  flowers  have  grotesque  con¬ 
ventional  shapes,  but  vaguely  resembling  the  natural  drawing  and  shading  at  which  the  earlier 
weavers  aimed.  The  vines  are  no  longer  gracefully  curved,  but  angular  and  cumbrous. 

And  yet  this  is  a  rare  good  rug  when  considered  from  a  modern  standpoint.  It  is  only 
when  such  capital  fabrics  are  placed  side  by  side  with  those  of  three  hundred  years  ago  that  we 
can  read  discouragingly  clear  the  decline  of  the  Oriental  weaver’s  art. 


1284 — Old  Rug  of  Middle  Persia.  Silk. 

Length,  6  feet  11  inches;  width,  4  feet  10  inches. 

780  hand-tied  knots  (Persian)  to  the  square  inch. 

This  rug  and  No.  1282  are  unquestionably  of  the  same  school,  and  No.  1282  is  the  older  and  more  elab¬ 
orate  of  the  two.  This  piece  (No.  1282)  contains  the  Ispahan  combination  of  green  border- 
ground  with  wine-red  or  crimson  field,  but  the  design  is  wholly  foreign  to  Ispahan  and  to  the 
whole  class  of  rugs  which  emanated  from  the  capital  during  the  latter  part  of  the  sixteenth  cen¬ 
tury.  Although  the  design  of  No.  1284  grew  out  of  that  found  in  No.  1282,  the  story  of  the 
artistic  contraction  which,  after  Shah  Abbas,  went  on  with  great  rapidity,  is  quite  clearly  written 
here. 

Much  of  the  floral  richness  of  No.  1282  is  abandoned  by  this  later  weaver,  apparently  for 
the  economy  of  effort ;  but  the  beginning  of  the  row  arrangement  so  prevalent  to  this  day  in  the 
carpets  of  Feraghan  and  others  patterned  after  them  is  undoubtedly  found  in  these  carpets. 
The  design  of  No.  1284  shows  a  large  amount  of  open  space.  The  weaver  was  not  barbarian 
enough  to  insert  loose  patterns  to  fill  up  the  ground,  and  having  abandoned  the  perfect  coordi¬ 
nation  common  to  the  fifteenth  and  early  sixteenth  century  carpets,  no  other  recourse  was 
left  him  but  to  leave  wide  areas  of  the  ground  color.  There  are  two  patterns,  rather  complex, 
repeated  in  alternate  rows,  and  so  arranged  in  the  rows  that  they  are  never  side  by  side.  A 
little  analysis  makes  it  clear  that  this  is  the  original  Herat  design,  lancet  leaves  and  all.  The 
pattern  itself  starts  in  a  central  point,  extends  upward  and  downward  by  the  combination  of 
corresponding  floral  elements,  and  terminates  in  two  small  white  or  ivory-tinted  lily  shapes 
which  meet  and  are  balanced  against  two  similar  shapes  from  the  pattern  following.  Here  are 
the  ends  and  here  is  the  meeting-place  of  the  successive  patterns.  The  middle  point  of  each 


TO 


mmm 


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1285 


pattern  is  where  the  four  curved  leaves  lie  back  to  back,  and  the  trifloriate  flower  stem,  with  the 
middle  bud  in  yellow  and  the  supporting  ones  in  blue,  outlined  in  white  and  dashed  with  red, 
points  toward  the  common  centre.  Opposite  these  centres,  in  the  alternating  rows,  fall  the 
lily  shapes  before  referred  to,  and  on  either  side  of  the  centres,  facing  one  another  and  again 
arranged  in  fours,  are  the  stalks  of  the  Guli  Hinnai  (flower  of  the  henna)  each  bearing 
five  blossoms. 

The  flowers  in  this  rug  are  similar  to  those  found  in  recognized  weavings  of  Shiraz,  but 
the  manner  in  which  they  are  utilized  is  of  the  North.  Certain  textile  indications,  such  as  the 
many-colored  silk  warp  and  the  small  crimson  overcasting  at  the  sides,  are  characteristic  of  the 
finest  Sehna  rugs  of  to-day.  The  shape,  also,  is  that  of  the  Sehnas ;  but  it  is  quite  impossible 
to  make  hard  and  fast  classification  of  a  rug  woven  when  Persia  was  in  a  state  of  such  continual 
change,  and  artisans  in  large  numbers  were  constantly  being  transferred  from  place  to  place, 
taking  with  them  their  methods  and  designs. 

The  fabric  has  been  exceedingly  well  kept.  Its  only  blemishes  are  one  small  rent  in  the 
centre,  carefully  mended,  and  the  absence  of  some  of  the  colored  warp  fringe  at  one  end. 
This  latter  defacement  is  the  handmark  of  the  vandal,  the  silk  having  been  slashed  away 
stealthily  while  the  rug  was  upon  exhibition. 


1285 — Old  Persian  Prayer  Rug.  Silk. 

Length,  5  feet  5  inches;  width,  3  feet  8  inches. 

468  hand-tied  knots  (Persian)  to  the  square  inch. 

The  fact  stated  elsewhere,  that  Eastern  carpet  designs  are  copied  by  generation  after  genera¬ 
tion,  is  perfectly  illustrated  by  a  coincidence  in  which  this  rug  figures.  The  prayer  rug 
used  in  the  earlier  editions  of  “Oriental  Rugs”  (page  168)  to  show  the  character  of  the  an¬ 
tique  Shiraz  weavings  is  almost  a  replica  of  this  one,  though  made  probably  two  centuries  later. 
It  is  probable  that  several  other  rugs  intervened  between  them,  and  that  the  copy  was  made 
from  a  copy,  or  a  copy  of  a  copy,  or  even  from  a  rug  many  times  removed  from  the  original. 
Whether  or  not  this  carpet  is  the  parent  of  them  all  it  is  impossible  to  know ;  but  that  it  is  ex¬ 
ceedingly  old  is  beyond  doubt.  It  is  hard  to  determine,  too,  if  this  be  the  actual  product  of 
Shiraz,  since  the  finishings,  so  plainly  proving  Shiraz  origin  for  the  later  piece,  are  missing  from 
this  one  by  very  reason  of  its  age. 

The  god  whom  the  weaver  of  this  rug  worshipped  must  have  been  a  generous  deity,  for 
the  fabric  in  every  inch  of  its  design  tells  a  story  of  plenty  and  gladness.  The  idea  of  actual 
growth  and  continued  blessing  is  especially  emphasized  by  the  jardiniere,  which  is  the  central 
feature  of  the  design,  and  from  which  spring  in  great  prodigality  practically  all  the  flowers  that 
Persia  knows.  There  is  certainly  no  floral  form  to  be  found  in  any  Iranian  carpet  design,  old 
or  new,  that  does  not  smile  at  us  from  this  rug. 

In  this  type  of  prayer  rug,  a  peculiar  form  of  prayer  arch,  or  niche,  is  developed,  the  con¬ 
cave  curve  of  its  sides  being  formed  by  a  primitive  form  of  the  tree  of  life,  half  of  which,  in  a 
dull  rose  color,  projects  from  each  side  of  the  field.  In  the  arch  itself,  overhead,  there  is  the 
strictly  Arabic  form  which  is  still  to  be  found  on  certain  old  buildings  in  Teheran  and  else¬ 
where — a  curve  softened  by  lesser  curves,  the  points  between  which  form  a  sort  of  serration. 
This  is  doubtless  the  source  of  the  rectangular  serrations  in  the  arch  of  the  Asia  Minor  prayer  rugs. 
(See  Nos.  1286  and  1287.)  In  this  rug  (No.  1285)  also  will  be  found  profile  flowers  fringing 
the  inside  of  the  arch — the  identical  flowers  which  are  used  for  the  same  purpose  in  the  prayer 
rugs  of  Ghiordes,  Kulah,  Ladik,  and  Meles,  and,  in  fact,  of  all  Asia  Minor.  Reference  is 
made  to  these  in  the  comment  upon  other  rugs.  It  should  now  be  said,  as  showing  its  origin, 
that  m  the  sixteenth  century  Sultan  Suleiman,  gaining  substantial  victories  over  the  Persians, 


took  four  thousand  artisans  from  Shiraz,  Ispahan,  Tabriz,  and  other  cities  of  Persia,  to  Con¬ 
stantinople,  and  set  them  at  work.  It  is  thus  that  so  many  features  are  found  in  set  and  conven¬ 
tional  form  in  the  fine  old  Asia  Minor  prayer  rugs,  which  appear  with  the  free,  artistic  Persian 
treatment  in  the  ancient  fabric  before  us.  The  heavy,  repetitive  device  seen  in  the  broad 
border  of  Asia  Minor  prayer  rugs— a  flower  stem  with  three  blossoms  and  one  or  two  leaves 
filling  a  square  space — was  taken  from  rugs  similar  to  this  one. 

In  both  field  and  border  of  No.  1285  appears  the  henna  flower.  In  the  border,  where  the 
Herat  idea  in  mild  form  is  followed,  the  familiar  flower  stalk  serves  as  support  for  the  main 
elements.  But  in  this  rag,  as  in  No.  1278,  care  is  taken  to  prevent  anyone  flower  from  attaining 
such  size  or  such  strength  of  color  as  to  make  it  more  conspicuous  than  the  others.  To  each  is 
given  its  natural  prominence,  and  no  more.  That  is  what  imparts  to  fabrics  of  this  character 
and  of  this  epoch  the  appearance  of  a  sward  thickly  carpeted  with  flowers.  When  the  Ispahan 
weavers  over-developed  the  lotus,  and  those  of  Feraghan  the  henna,  all  other  elements  were 
dwarfed  to  make  way  for  these;  and  realism,  as  it  appears  in  Nos.  1282,  1285,  and  1305,  at 
last  surrendered  unconditionally  to  convention. 

Age  has  left  its  mark  upon  this  most  admirable  and  interesting  prayer  carpet,  but  its  de¬ 
sign,  fortunately,  is  still  intact,  and  it  will  endure  yet  for  many  lifetimes  as  an  example  of  one 
of  the  most  virile,  yet  most  refined,  products  of  Iranian  art. 

1286 — Asia  Minor  Prayer  Rug. 

Length,  5  feet  1  o  inches ;  width,  4  feet  5  inches. 

162  hand-tied  knots  (Turkish)  to  the  square  inch. 

The  old-time  rugs  of  Western  and  Southwestern  Asia  Minor  vary  materially  in  details  of  color  and 
figuration,  and  yet  conform,  for  the  most  part,  so  closely  to  a  general  type  that  it  is  difficult  to 
assign  the  exact  place  of  manufacture  of  many  of  them.  It  is  quite  the  fashion  to  attribute  to 
Ghiordes  all  which  show  as  fine  execution  as  is  here  displayed,  without  particular  regard  to  color 
or  design.  The  turquoise-blue  centre — a  desirable  thing,  and  one  now  become  rare — is  suffi¬ 
cient  to  warrant  the  attribution  of  the  rug  to  Ghiordes ;  but  there  have  been  adopted  into  it 
features  characteristic  of  other  localities  not  remote.  Chief  of  these  is  the  use  of  the  many 
narrow,  figured  stripes  in  the  border,  which  are  everywhere  recognized  as  the  mark  of  the 
weavings  of  Kulah.  The  Ghiordes  character  is  further  maintained  by  the  accentuated  note 
of  deeper  blue  at  top  and  bottom  of  the  central  field ;  but,  on  the  other  hand,  the  prevalence 
of  yellow  throughout,  even  to  the  outermost  stripe,  is  suggestive  of  Kulah.  The  abbreviation  of 
the  angles  at  sides  and  apex  of  the  prayer  arch  is  a  Ghiordes  indication,  but  the  serration  of  the 
sides  of  the  arch  belongs  to  Kulah.  The  composite  quality  of  the  design  will  be  apparent 
from  these  data  alone,  but  there  is  no  mistaking  the  scrupulous  Ghiordes  workmanship,  nor  the 
delicate  adjustment  of  color  which  is  almost  a  sign  manual  of  the  old  Ghiordes  weavers.  The 
deft  manner  in  which  the  blue  of  the  centre  is  carried  out  through  the  borders,  always  held  in 
subjection  in  order  that  the  centre  shall  not  be  overbalanced,  is  unmistakable.  Even  the  big 
Turanian  elements  of  design,  which  are  borrowed  from  the  heavier  fabrics  woven  farther  to  the 
east  in  Anatolia — Kir  Shehr  and  Konieh,  for  example — are  converted  by  means  of  this  soft 
coloration,  and  the  brightness  which  is  the  clfief  desideratum  in  Ghiordes  rugs  is  finally  secured 
by  the  use  of  cotton  for  areas  of  white.  Wool  in  the  same  place  would  have  turned  yellow 
with  age,  and  the  rug,  after  one  hundred  and  fifty  years,  would  have  been  dingy.  The  only 
really  strong  coloration  in  the  carpet  is  in  the  narrow  stripes,  and  even  these  are  tempered 
in  tone.  The  reds  which  in  the  Bergamo  or  Ladik  rugs  would  have  been  used  in  their  purity, 
have  here  a  brownish  cast,  borrowed  from  rugs  of  the  interior,  but  evidently  seized  upon  because 
they  contributed  to  the  soft  tone  which  the  weaver  aimed  at. 

The  religious  symbolism  is  complete.  In  the  field,  both  at  the  base  and  in  the  Simula- 


crum  of  the  temple  lamps  above,  the  eight-pointed  star,  which  has  been  a  divine  emblem 
throughout  Asia  for  thousands  of  years,  and  is  not  merely  a  part  of  the  cabalism  of  Islam,  is 
interwrought  with  the  tree  forms,  recognized  in  the  Mohammedan  and  many  antecedent  religions 
as  symbolizing  immortality. 


1287 — Asia  Minor  Prayer  Rug. 

Length,  6  feet  8  inches ;  width,  4  feet  9  inches. 

99  hand-tied  knots  (Turkish)  to  the  square  inch. 

Here  again,  as  in  No.  1286,  the  Ghiordes  weaver  has  made  use  of  many  elements  in  constructing  a  car¬ 
pet  for  worship,  but  the  signs  manual  are  still  present  in  numbers  sufficient  to  establish  beyond 
doubt  the  place  where  the  rug  was  woven.  Perhaps  the  most  unusual  feature  of  the  piece  is  the 
white  central  ground,  of  wool,  which  necessitates  a  higher  key  and  a  stronger  definition  in  the 
other  color  areas  than  would  otherwise  have  been  required.  To  this  end  the  narrow  border 
stripes  have  been  used,  wider  than  the  ordinary  and  stronger  in  color.  Unwonted  liberality, 
too,  has  been  displayed  in  the  choice  of  diverse  strong  ground-colors  for  the  border  stripes  and 
the  patterns  which  they  carry — a  liberality  which,  on  the  whole,  is  quite  suggestive  of  Persian 
influences,  especially  since  the  floral  idea  enters  so  largely  into  the  border  design. 

At  first  glance  it  is  hard  to  resist  the  conviction  that  the  rug  is  the  product  of  Konieh  or  of 
the  Southern  coasts,  where  Persian  notions  have  always  been  more  or  less  evident  in  the  decora¬ 
tion  ;  but  the  arch,  it  will  be  seen,  has  the  same  Kulah  serration,  and  the  same  Ghiordes  trunca¬ 
tion  of  its  angles  that  are  apparent  in  No.  1286.  These,  coupled  with  the  skilful  use  of  cotton  for 
the  high  lights,  particularly  in  the  small  border  stripes,  lead  to  the  conclusion  that  the  rug  is 
of  Ghiordes  handiwork. 

That  much  being  conceded,  however,  the  manner  in  which  the  characteristics  of  the 
different  districts  have  been  brought  together  in  this  fabric,  the  whole  object  being  to  maintain 
high  key  and  clear  definition,  is  most  interesting.  It  must  be  borne  in  mind  that  this  strength 
of  definition  was  even  greater  when  the  rug  was  new,  since  the  black  dye,  so  much  used  in  the 
Ghiordes  rugs  and  others  woven  nearby,  has  long  ago  eaten  away  the  wool  dyed  with  it,  and 
left  only  the  white  foundation  showing.  This  is  especially  noticeable  in  the  quadrangular  flower 
devices  of  which  the  broad  borders  are  composed. 

There  is  peculiar  aptness  in  the  choice  of  green  for  the  ground  of  the  outer  border,  since 
it  is  the  holy  color  of  the  Mohammedans.  But  a  sense  more  purely  artistic — perhaps  more 
Persian — is  manifest  in  the  selection  of  yellow  as  a  ground  for  the  other  border ;  and  a  kindred 
inspiration  is  evident  in  the  use  of  two  shades  of  red  for  the  flowers  that  are  laid  upon  the 
green  border  ground.  There  is  the  cherry  crimson  of  Meles  and  the  carmine  of  Ladik  and 
Bergamo.  The  rug  is  of  perfect  shape  and  in  splendid  preservation. 


1288  —  l/ery  Old  Persian  Silk  Fragment. 

600  hand-tied  knots  (Persian)  to  the  square  inch. 

An  exquisite  relic  of  one  of  the  finest  and  oldest  of  Persian  textiles.  Bits  of  this  sort  are  now 
diligently  treasured  in  the  Orient  itself,  and  coloring  like  this  is  the  despair  of  the  latter-day 
dyer,  even  in  the  East.  The  size  and  importance  of  the  carpet  in  the  beginning  may  be  inferred 
from  the  magnitude  of  the  medallion  shape,  the  repetition  of  which  evidently  made  an  all-over 
pattern,  and  to  the  art  lover  it  is  cause  for  deep  regret  that  only  such  small  parts  of  so  perfect 
a  fabric  have  been  preserved. 

While  the  texture  of  the  rug  is  Persian  and  of  the  highest  order,  there  is  in  it  little  of  the 
recognized  design  of  Western  or  Southern  Persia,  at  least  since  the  fifteenth  century.  In  the 


medallion  shape,  which  served  here  as  a  node  or  point  of  intersection  for  the  broad  ornamental 
bands  of  the  central  design,  there  is  seen  at  once  the  origin  of  the  form  found  enclosing  the 
rosettes  in  the  Herat  border.  It  is  impossible  to  escape  the  conviction  that  the  carpet  was 
woven  to  the  eastward  of  the  Great  Salt  Desert,  somewhere  in  Northern  Khorassan,  or  in  Herat, 
when  the  last  of  the  line  of  Tamerlane  held  court  there,  and  all  the  splendor  of  the  Persian  and 
Turkoman  dominions  centred  around  the  key  of  India. 

In  the  great  medallion  space  there  are  two  fishes,  and,  alternating  with  these,  two  spotted 
shapes,  not  too  clearly  defined,  but  plainly  representing  some  aquatic  creature.  All  are 
fairly  limned.  On  the  rose-pink  ground,  at  recurrent  points  in  the  pattern,  a  bird,  blue  of  neck 
and  white  of  body,  poises,  half  concealed  by  a  leaf  form.  The  vines,  which  are  used  by  way  of 
smaller  adornment,  are  simple,  but  graceful,  with  the  flowers — seemingly  a  different  type  of 
floration  from  any  other  seen  in  the  collection — dependent.  On  the  pink  ground  these  vines 
are  of  a  pale  golden  yellow,  while  on  the  white  bands  they  appear  with  outlines  of  the  most 
delicate  green.  The  only  familiar  figure  here  is  the  flower — yellow,  blue,  and  pink — which  later 
was  adopted  as  a  feature  of  the  well-known  Mina  Khani  design. 

An  interesting  feature  of  this  extraordinary  fragment  is  the  strip — itself  pieced — which  has 
been  attached  to  serve  as  border.  It  is  evident  that  this  affords  only  a  hint  of  the  original 
border,  and  has  been  sewn  on,  in  the  true  spirit  of  the  collector,  in  order  to  preserve  a  record, 
however  imperfect,  of  the  rug’s  first  splendor.  This  border  strip  appears  of  a  pale  yellow ;  but  a 
patch  of  the  same,  in  an  upper  corner,  inverted,  perhaps  accidentally,  reveals  the  olive  cast. 
Silk  rugs  to-day  present  a  similar  change  of  color  when  seen  from  different  points,  and  this 
fragment  displays  a  much  deeper  tone  throughout  when  inverted.  The  figure  which  appears  in 
the  border  strip  is  an  unusual  one,  practically  unknown  in  the  carpets  of  Western  Persia — an 
ivy  leaf,  beautifully  drawn  in  w'hite,  with  outline  of  alternate  pink  and  blue,  and  with  each  leaf 
pointing  in  an  opposite  direction  from  that  of  its  neighbor. 

As  was  remarked  at  the  beginning,  this  rug — or  these  pieces  of  a  rug — are  of  a  wholly 
different  school  from  anything  else  here  shown  and  are  of  sufficient  age  and  rarity  to  abundantly 
warrant  their  being  kept,  as  they  were,  under  glass,  and  used  for  a  wall  ornament. 


1289 — Antique  Feraghan  Sedjadeh. 

Length,  6  feet  10  inches;  width,  3  feet  10  inches. 

132  hand-tied  knots  (Persian)  to  the  square  inch. 

By  the  conservative  Persian,  the  Feraghan  rugs  of  this  class  and  quality  are  accounted  among 
the  most  desirable  of  carpetings.  In  quality  of  material,  thoroughness  of  workmanship, 
and  genuineness  of  color,  it  is  doubtful  if  any  of  the  late  weavings  surpass  them.  There  is  no 
rug  woven  in  the  Orient  which  shows  a  more  marked  improvement  with  age  than  these.  In 
one  respect  this  piece  is  quite  phenomenal.  The  prevailing  design  in  the  old  type  of 
Feraghans  is  the  Herati,  or  “  fish  ”  pattern,  in  close  form,  much  as  it  appears  in  the  corner 
spaces  and  inner  medallion  of  the  Sehna  khilim,  No.  1279.  But  the  weaver  here  has  taken  for  the 
central  design  the  regulation  Herat  border  and  merely  repeated  it,  row  on  row,  transversely, 
upon  a  red  ground,  making  of  it  an  all-over  pattern,  as  effective  in  its  way  as  the  Herat 
centre  itself.  In  such  cases  it  is  customary  to  select  some  foreign  design  for  the  border,  and 
the  result  is  usually  inharmonious ;  for  in  all  the  range  of  Eastern  carpet  design  there  is  nothing 
more  complete,  more  perfectly  correlated  than  the  Herat  that  is  thorough  in  field  and  border. 
Rather  than  fetch  in  some  discordant  conceit,  the  weaver  has  maintained  the  Feraghan 
reputation  for  consistency  by  using  the  pure  Herat  border  device  in  the  border  as  well  as  field. 
Altogether  the  effect  is  good.  What  is  lacking  is  the  agreeable  note  of  contrast,  of  complement, 
or,  better,  completeness,  in  which  the  combination  of  Herat  field,  or  “  fish  ”  pattern,  with  its 
customary  border,  excels  almost  any  recognized  design  of  the  East.  Some  features  extraneous  to 
Feraghan — the  pear  device  most  used  in  Sarawan  (Saraband)  and  the  small  trifoliate  reciprocal 


device  of  Hamadan — are  introduced  in  the  narrow  borders,  apparently  to  break  the  monotony 
which  might  be  expected  to  result  from  such  an  exaggerated  use  of  the  Herat  border  sequence. 

An  attractive  color  contrast,  with  a  suggestion  of  stained  glass,  is  effected  by  the  use  of 
blues  and  greens  in  the  broad  and  narrow  borders. 


— Lesghian  Rug  of  the  Caucasus. 

Length,  7  feet  2  inches;  width,  3  feet. 

63  hand-tied  knots  (Turkish)  to  the  square  inch. 

A  rug  made  for  hard  usage  out  of  doors.  The  knots  to  the  inch,  it  will  be  observed,  are  few  in 
number;  but  the  yarns,  heavy  ones,  are  doubled,  and  the  weft,  which  runs  back  and  forth 
between  the  knot  rows  to  serve  as  a  binder,  is  unusually  stout.  The  design  is,  in  the  main, 
copied  from  the  Shirvans ;  but  the  color,  a  study  in  yellow  and  blue,  is  almost  universal  in 
rugs  of  this  variety.  There  is  much  suggestion  of  the  Shirvan  khilim  in  the  patterns.  The 
“  wine-glass  ”  border,  so  called,  is  much  used  throughout  the  provinces  of  Erivan  and 
Karabagh  in  the  Transcaucasus,  and  migration  has  carried  it  far  beyond  the  Araxes  into 
Northern  Persia,  where  it  is  specially  to  be  noticed  in  the  rugs  and  large  native  carpets  of  the 
Herez  district  of  Azerbijan. 


—  Heavy  Kashkai  Shiraz. 

Length,  6  feet  10  inches;  width,  7  feet  8  inches. 

63  hand-tied  knots  (Turkish)  to  the  square  inch. 

A  former  Shah  of  Persia,  during  the  centuries  when  the  Persian  dominion  extended  northward  well- 
nigh  to  the  mouth  of  the  Volga,  transferred,  as  was  the  custom  of  rulers  of  his  time,  an  entire 
tribe,  called  the  Kashkai,  from  the  Daghestan  country,  north  of  the  Caucasus,  to  Farsistan,  a 
little  west  of  the  old  Persian  capital,  Shiraz.  Even  in  the  hundreds  of  years  that  have  passed, 
the  amalgamation  of  these  people  with  their  Iranian  neighbors  has  been  incomplete,  and  a 
multitude  of  rugs  still  come  to  market  under  the  title  of  Shiraz  which  have  little  or  nothing  in 
common  with  the  Persian  product  of  Farsistan,  and  preserve  almost  unaltered  the  designs,  colors, 
and  textile  methods  of  the  North.  It  is  to  that  class  that  this  example  belongs.  In  shape  it 
is  nearest  akin  to  the  Kazaks  and  Shirvans  of  the  Caucasian  country.  In  design  and  color  it 
approaches  very  nearly  to  the  Tchetchen  rugs  commonly  known  as  “  Tzitzi,”  even  to  the 
plentitude  of  yellow  and  brown.  Certain  features  of  ornamentation — for  example,  the  colored 
web  at  the  ends — and  the  fine  line  patterns  often  woven  or  embroidered  in  it,  have  become 
frequent,  if  not  characteristic,  in  all  the  rugs  of  Farsistan,  Iranian  and  Tartar  alike.  It  is  quite 
to  be  believed,  however,  that  they  took  their  origin  from  the  Far  North,  and  that  their  proto¬ 
types  are  found  in  the  decorative  webbing  so  frequently  seen  in  the  Beluchistans,  Tekkes, 
Afghans,  and  some  Caucasian  products,  such  as  the  Derbends,  as  well  as  in  the  Yuruk  rugs  of 
Anatolia,  which  are  woven  by  kindred  tribes. 

In  this  piece  the  prevailing  feature  of  the  nomad  “Tzitzi”  rugs — the  reckless  scattering 
of  wholly  disconnected  figures — is  plain,  and  practically  all  of  them  are  Turanian  in  character. 
The  Caucasian  arrangement  of  three  large,  connected,  rectangular  medallions  as  a  main 
feature  of  the  field  is  retained,  a  conceit  which  has  found  its  way  into  numberless  Shiraz  rugs, 
the  decorative  character  and  the  weaving  of  which  are  thoroughly  Persian.  In  the  course  of 
repair  the  original  finishing  of  the  sides  of  the  rug  seems  to  have  disappeared.  The  ends 
reveal  the  source  of  it.  The  pile  has  the  softness  for  which  the  wool  of  Farsistan  is  famed, 
and  in  the  length  and  “  lie  ”  of  it  resembles  that  of  the  heavier  fabrics  of  Caucasia.  In  shape 
the  rug  is  far  more  like  the  old  Kazaks  than  any  recognized  product  of  South  Persia. 


—  Rug  of  Northwestern  Persia. 

Length,  8  feet  10  inches;  width,  5  feet  2  inches. 

132  hand-tied  knots  (Turkish)  to  the  square  inch. 

This  rug  has  all  the  clear  color,  even  trimming  of  pile,  and  thorough  workmanship  of  the  fine 
Kabestan  or  old-time  Karabagh,  but  the  design  shows  few  Caucasian  features.  The  only  prom¬ 
inent  figure  that  belongs  to  the  ancient  Turanian  symbolism  is  the  heavy,  swastika-like  shape 
repeated  in  the  border — one  that  is  frequent  in  the  fabrics  of  Middle  and  Western  Anatolia. 

This  single  border,  apparently  so  inadequate  to  balance  the  bold,  heavy  figures  of  the 
field,  is  not  characteristic  of  the  Caucasus,  and,  as  there  is  small  likelihood  that  the  rug  ever 
had  any  other  or  heavier  border  stripes,  the  only  conclusion  warranted  is  that  this  single 
border,  like  some  other  features  of  the  fabric,  was  drawn  from  old  Persian  sources — witness 
some  of  the  fine  old  North  Persian  pieces — though  the  figure  with  which  it  is  filled  be  in 
essence  Turanian. 

The  heavy  red  outline  of  huge,  elongated  leaf  forms  which  dominate  the  field  of  the  rug  is 
directly  traceable  to  a  design,  standard  in  Middle  and  Northwestern  Persia  for  centuries,  known 
as  the  Sirdar,  after  a  dignitary  whose  weavers  are  supposed  to  have  first  produced  it.  The 
leaf  elements  are  so  involved  as  to  form,  down  the  middle  of  the  field,  a  succession  of  medal¬ 
lions,  and  these,  as  well  as  the  spaces  set  off  at  the  sides  by  the  outreaching  of  the  leaves,  are 
filled  with  flower,  leaf,  and  other  untraceable  forms,  in  the  characteristic  drawing  of  Herez, 
suggestive  only  in  the  broadest  way  of  things  in  nature.  The  stiffness,  the  breadth,  the  strong 
color  contrasts — they  may  be  found  to-day  in  Gorevan,  Serapi,  and  other  carpets  of  the  Herez 
district.  The  reds  and  the  lighter  blues  and  greens  are  almost  the  identical  colors  found  in 
the  fine  modern  Gorevan ;  but  in  the  yellows  and  browns,  for  some  small  areas,  as  well  as  in 
the  dark  blue  of  the  ground,  there  is  strong  suggestion  of  the  Caucasus.  The  minute  devices 
scattered  throughout  the  rug — like  the  grotesque  conversion  of  the  straight,  splashy  figures  in 
one  medallion  into  a  pair  of  legs  and  of  the  other  into  a  face — are  of  the  Karabagh  and 
“  Tzitzi  ”  order.  They  indicate  the  nomad,  and  the  Caucasian  nomad  ;  but  the  perfect  balance 
before  referred  to,  of  one  side  against  the  other,  bespeaks  care  and  painstaking,  and  the  tex¬ 
ture  tells  the  skilful  weaver. 


—  Soumak  Rug  of  the  Caucasus. 

Length,  9  feet;  width,  5  feet  10  inches. 

The  effect  of  repeated  washing  and  exposure  to  sun  is  evident  in  this  so-called  Kashmir.  That  these 
processes  have  made  the  rug  pleasant  to  look  at  cannot  be  denied.  The  blue  and  yellow  are 
soft,  and  the  other  colors  toned  down  to  a  very  gentle  harmony.  This  change  of  the  colors 
under  commonplace  treatment  and  hard  wear  is  interesting,  in  so  far  as  it  shows  what  in  these 
latter  days  is  done  to  many  new  rugs,  for  trade  purposes,  by  the  aid  of  artificial  heat  and  divers 
acids.  The  rug’s  value  as  a  color  study,  however,  is  only  secondary.  It  is  chiefly  of  interest  as  a 
compendium  of  standard  elements  of  design,  and  without  doubt  was  selected  for  that  reason. 
The  numberless  ethnological  currents  that  have  traversed  the  Caucasian  country  have  left  each 
its  record  in  this  sort,  and  this  faded  fabric  of  the  old  Soumak  district  seems  to  embody  almost 
a  majority  of  these.  It  is  every  whit  as  good  as  a  certified  genealogy.  Even  a  cursory  glance  will 
discover  the  Tartar  latch-hook  in  profusion ;  the  eight-pointed  star,  which  was  the  old  worship 
symbol  of  the  Medes,  and  at  the  same  time  is  found  in  the  rugs  of  every  Turkish  tribe  from 
Samarkand  to  the  Bosphorus;  the  octagon,  so  prominent  in  nearly  all  the  Tekke  or  Bokhara 
fabrics  and  those  of  Northern  Afghanistan ;  the  mysterious  swastika,  which  prevails  in  the 
relics  of  every  ancient  civilization  the  world  over ;  the  Chinese  fret  designs,  the  parti-colored 


stripes  of  the  Yomud  and  Akhal  Turkomans;  and,  by  way  of  final  adornment,  the  small,  rude 
human  and  animal  figures  of  the  upper  provinces  of  Caucasia  and  the  mountain  districts  of 
Kurdistan.  Here,  too,  are  the  sudden  changes  of  color  so  prevalent  among  the  Kurds  and  the 
Kabestan  weavers.  All  this  is  colored  and  arranged  wholly  after  the  Soumak  manner,  and, 
while  not  of  a  fine  texture,  the  rug  represents  in  appearance  and  workmanship  the  regular 
output  of  this  one  small  district  in  the  eastern  part  of  the  Caucasus. 


— Karabagh  Strip. 

Length,  9  feet;  width,  3  feet  10  inches. 

88  hand-tied  knots  (Turkish)  to  the  square  inch. 

So  far  as  its  rugs  are  concerned,  the  ancient  province  of  Karabagh,  dominated  now  by  Georgians,  now 
by  Turks,  again  by  Persians,  and  in  the  end  by  Russians,  has  always  been  a  home  of  composites 
and  compromises ;  but  has,  on  the  whole,  maintained  fairly  well  a  treatment  of  its  own.  Patent 
concessions  may  be  found,  in  many  of  its  rugs,  to  the  Persian  tendencies  in  design,  but  much 
has  been  borrowed  from  Shirvan,  which  adjoins  Karabagh  on  the  east,  while  in  color,  clearness, 
and  general  character  of  work,  the  weavers  have  followed  the  example  of  those  farther  north. 
The  rug  here  shown  is  sound  and  durable.  The  stripe  design  is  probably  of  Persian  or  Arabian 
origin,  and  is  sometimes  seen  in  the  old  Kabestans,  where  Persian  influence  is  at  times  very 
perceptible.  The  longitudinal  stripes  of  which  the  field  is  made  up  are  of  alternating  ground 
colors.  Usually  the  object  seems  to  be  to  have  no  two  of  the  same  hue.  Each  stripe,  further¬ 
more,  is  ornamented  with  repetition  of  tree  or  plant  design,  somewhat  after  the  Kurdish 
manner,  but  preserving  still  the  rectilinear  treatment  of  the  Caucasus.  A  mark  almost 
omnipresent  in  Karabagh  rugs  is  the  narrow  stripe  made  up  of  “  reciprocals  ”  ;  in  this  case  red 
and  blue  in  one  stripe  and  black  and  blue  in  the  other.  (See  No.  1 2  70.)  In  the  broad  border  stripe, 
on  a  ground  of  wool  white,  is  the  “wine-glass”  pattern,  itself  most  frequently  found,  as  has 
been  said,  in  the  rugs  of  Transcaucasia  and  Upper  Persia.  The  narrow,  parti-colored  stripe  of 
the  Tartars  also  appears.  The  foundations  and  finishings  of  the  rug,  even  to  the  mixed  wool 
of  the  warp,  are  most  like  those  of  Shirvan,  which  would  indicate  that  it  came  from  the  eastern 
part  of  the  Karabagh  province.  The  selvage  of  the  sides,  however,  would  suggest  the  influence 
of  Daghestan  in  its  color. 


— Perso-Mongol  Rug. 

Length,  9  feet  2  inches;  width,  5  feet  6  inches. 

154  hand-tied  knots  (Turkish,  Tabriz  method)  to  the  square  inch. 

Possibly  no  rug  in  the  entire  collection  embodies  so  many  contradictory  elements,  or  offers  so  much 
material  for  study  and  speculation,  as  does  this.  The  constructive  significance  of  its  various 
features  is  so  plain,  however,  that  it  is  not  difficult  to  reread  here,  though  perhaps  not  clearly, 
the  record  of  one  of  the  greatest  race  movements  Asia  has  ever  known. 

To  take  the  items  one  at  a  time  :  Pictorially,  the  inspiration  of  the  carpet  is  Chinese ;  that 
is  hardly  to  be  disputed.  The  comparatively  small  but  strong  and  compact  medallion  in  the 
centre,  and  the  heavy,  conventional  plant  forms  distributed  in  such  open  but  regular  arrange¬ 
ment  throughout  the  field  are  strongly  suggestive  of  Samarkand  and  Kashgar;  or,  for  that 
matter,  of  Tien-Tsin.  The  blue  and  white  wave  stripe  used  as  background,  likewise,  produces 
all  the  effect  of  the  interminable  fret  patterns  which  prevail  in  Chinese  ware  and  textiles.  But 
this  particular  adjustment  of  stripes,  starting  in  a  single  rectangular  arch  projecting  from  each 
of  the  four  sides  of  the  medallion,  and  carried  outward,  line  upon  line,  in  perfect  radiation,  and 


with  angular  undulations  in  exact  succession,  is  a  recognized  Persian  element  in  design,  and 
in  Persian  rugs,  as  well  as  in  Indian  fabrics  copied  from  them,  stands  for  water. 

The  composite  character  of  the  rug  is  thus  established,  but  the  task  of  deciphering  it  does 
not  cease  there.  The  plant  forms  are  used  in  the  field  here  precisely  as  the  Chinese  use  them, 
but  there  is  no  suggestion  ot  Chinese  authorship  in  the  coloring.  The  Kurds  also  make  a 
specialty  of  this  plant  form,  and  far  more  exclusively  than  the  Chinese  do.  It  is  found, 
variously  drawn,  in  thousands  of  rugs,  of  Northern  Kurdistan  particularly,  diversified  in  color 
about  as  it  is  here. 

The  centre  medallion,  which  in  effect  is  Chinese,  is  not  drawn  in  the  octagonal  or  circular 
form  prescribed  by  the  Mongolian  tenets,  but  with  the  so-called  Vandykes  that  distinguish 
similar  figures  in  the  very  old  Persian  carpets,  though  here  the  curves  are  broken  and  ungainly. 
It  is  edged,  too,  with  a  sort  of  leaf  serration,  such  as  has  prevailed  for  centuries  in  the  finest 
Persian  designs.  The  small  corner  areas,  set  apart  by  jagged  lines  in  much  the  same  treat¬ 
ment,  are  such  as  distinguish  a  multitude  of  rugs  in  Irak  Adjemi,  the  central  province  of 
Persia.  And  attention  must  be  paid  to  the  flower  shapes  which  occupy  the  central  medallion 
and  comers.  They  are  in  the  profile  form,  which  pertains,  as  suggested  elsewhere,  to  Western 
Persia  and  Anatolia.  (See  Nos.  1278,  1280,  and  1286.)  It  is  very  easy  to  trace  this  profile 
form  backward  along  the  path  it  has  travelled,  from  the  Dardanelles,  through  Anatolia  and 
Mesopotamia,  over  the  mountains  of  Kurdistan,  in  Persia  as  far  south  as  Shiraz  and  Bagdad, 
and  in  the  Caucasus  all  the  way  to  Daghestan. 

In  color  there  is  little  suggestion  of  Samarkand.  The  combination  of  blue  centre  and 
wine-red  border,  now  softened  to  a  rose  tint,  are  thorough  Persian.  The  central  blue  is  the 
blue  of  Kurdistan  and  Western  Persia,  not  of  Asia  Minor.  There  appears,  too,  in  the  cor¬ 
ners,  the  plum  color  of  the  Feraghans  of  Central  Persia,  a  color  rarely,  if  ever,  used  elsewhere. 
In  the  narrow  border  stripe,  repeated  at  regular  intervals,  is  the  small,  rectilinear,  stemless 
flower  pattern  characteristic  of  the  rugs  of  Karabagh,  which  is  just  across  the  Araxus  and 
was  formerly  part  of  the  Persian  dominion.  The  black  delineations  are  interesting.  This 
is  the  same  black  which  the  Ghiordes  weavers  used  for  this  purpose,  and  which  eats  away 
the  wool  as  the  other  colors  soften  with  age.  (See  Nos.  1286  and  1305.)  The  main  border 
has  significance  both  in  color  and  design.  The  lancet  leaf  is  used,  combined  with  what  is  doubt¬ 
less  a  Kurdish  tree  device,  and  the  pink  on  red  is  in  imitation  of  the  earlier  and  more  elaborate 
rugs  of  Middle  and  Southern  Persia. 

Since  this  rug  was  made,  the  map  and  population  of  Persia  have  changed  materially. 
Cities  then  important  have  vanished  or  become  mere  huddles  of  mud  dwellings ;  but  when 
this  singular  bit  of  weaving  was  done,  the  influence  of  the  Turko-Mongol  invasion  was  still 
strong  in  Persia,  and  Persian  captives  or  their  descendants  were  still  weaving  on  the  looms  of 
Samarkand.  That  the  rug  is  of  Mongol  inspiration  seems  plain,  but  it  is  so  eloquent  in  color 
and  textile  habit,  as  well  as  in  design,  of  the  Persia  of  its  time,  that  I  am  forced  to  believe 
that  it  was  woven  by  one  of  the  numberless  artisans  whom  Mongol  invaders  took  back  to 
Samarkand,  or  else  by  some  Samarkandi  taught  by  these  Persian  masters. 


1296 — Heavy  Kurdish  Kali. 

Length,  1 1  feet ;  width,  5  feet. 

48  hand-tied  knots  (Turkish,  double  yarns)  to  the  square  inch. 

The  Herat,  or  “fish  ”  design,  so  generally  employed  in  every  part  of  Persia,  is  laid  upon  a  ground  of 
deep  blue.  The  yellows  and  reds  are  those  common  to  Kurdistan,  and  the  rose-pink  shades 
are  particularly  good.  The  pile  is  worn  down  in  places  almost  to  the  foundations,  and  age 
has  materially  softened  the  colors ;  but  the  gloss,  for  which  Kurdish  wool  has  so  good  a  name, 
is  not  lost.  The  kali,  usually  in  about  this  proportion  as  to  length  and  breadth,  is  the  centre 
piece  in  the  triclinium  arrangement. 


1297  —  Baku  Rug. 

Length,  n  feet  10  inches;  width,  5  feet. 

90  hand-tied  knots  (Turkish)  to  the  square  inch. 

This  would  be  held  in  most  respects  a  good  example  of  the  Kabestan  weavings,  but  it  happens  to 
have  been  made  farther  to  the  east,  in  the  old  province  of  Baku,  which  touches  the  Caspian. 
The  finishings  of  the  rug  are  the  chief  points  of  difference  between  it  and  the  Kabestan 
products.  In  this  respect,  the  customs  of  Shirvan,  which  adjoin  upon  the  south,  are  followed. 
There  is  apparent  the  typical  Caucasian  color,  brightness,  and  clarity.  The  cleanly  defined 
medallions  are  the  common  framework  of  the  Kabestan  and  Daghestan  designs ;  the  barber-pole 
stripe  of  the  Turko-Tartar  rugs  and  the  conventionalized  flower  forms  which  have  come  from 
the  eastern  shore  of  the  Caspian  are  not  lacking ;  but  over  the  blue  ground  lying  outside  the 
medallion  are  strewn  in  bold  array  the  “  pear  ”  figures  telling  of  the  ancient  Persian  faith, 
which  throve  here  at  the  altars  of  perpetual  fire  centuries  before  Mohammed.  This  “  pear,” 
“cone,”  or  “flame”  shape,  for  which  so  many  men  have  found  so  many  derivations,  is,  for 
some  reason,  drawn  in  the  Kabestans  and  neighboring  rugs  very  much  as  it  is  in  the  fabrics  of 
Shiraz  and  Laristan — big,  and  ornamented  with  tree  characteristics.  Can  it  be  that  this  form 
of  the  ancient  sign  of  Persia  was  also  taken  to  the  south  by  the  migratory  tribes  who  had  dwelt 
about  the  fire  altars  of  the  Caucasus  ? 

In  this  rug,  which  shows  so  much  of  composite  character,  there  is  good  display  of  the 
yellows  used  by  the  Lesghians  a  little  farther  to  the  west.  The  shading  of  the  ground  colors, 
particularly  the  blue  in  the  border  and  the  “pear”  figures,  is  trace  of  the  Kabestan  influence, 
the  source  and  centre  of  which  are  so  near  at  hand. 


1 298 — Karabagh  Strip. 

Length,  12  feet  7  inches;  width,  3  feet  2  inches. 

99  hand-tied  knots  (Turkish)  to  the  square  inch. 

There  is  marked  similarity  between  this  and  No.  130T.  The  field  here  is  broken  by  filling  the  vacant 
blue  spaces  with  small  diamond-shaped  devices.  The  indented  Tcherkess  cross,  which  appears 
large,  projecting  into  the  field  of  No.  1301,  is  not  found  in  this  strip.  Other  things  are  sub¬ 
stituted.  In  coloring,  also,  there  are  points  of  divergence,  particularly  in  the  “  reciprocal  ” 
stripes. 


1299  —  Large  Baku  Rug. 

Length,  12  feet;  width,  5  feet  2  inches. 

80  hand-tied  knots  (Turkish)  to  the  square  inch. 

These  rugs,  it  is  remarked  in  connection  with  another  piece  in  the  collection  (No.  1297),  are  in  all 
points  of  design  identical  with  many  of  the  Kabestans.  It  is  worth  noting,  however,  that 
many  pieces  made  years  ago  in  this  section  are  found  in  which  buff  or  fawn-yellow  prevails  in 
one  or  more  values,  running  sometimes  into  a  deep  brown.  In  most  of  these,  it  would  seem, 
the  color  was  in  the  beginning  some  shade  of  red  which  time  and  the  necessary  washings  have 
converted  into  buff.  Often  the  original  red  can  be  found  at  the  bottom  of  the  knots.  It  is 


in  this  point,  almost  solely,  that  these  fabrics  differ  from  the  genuine  Kabestans,  whose  colors 
are  fast  and  past  criticism.  The  fading  seems,  though,  to  be  rather  a  fulfilment  of  the  weaver’s 
purpose  than  a  mishap.  The  blue  ground,  which  is  customary,  is  usually  a  stable  color,  and 
when  the  yellow  has  been  developed  in  the  other  parts  of  the  rug  the  yellow  and  blue  effect  is 
almost  as  complete  as  it  is  in  the  rugs  of  Kulah  (see  Nos.  1278  and  1280).  Whatever  the 
method  of  obtaining  this  eccentric  coloration,  the  result,  it  must  be  conceded,  is  most  artistic. 

One  place  is  noticeable  in  the  field  of  the  rug,  where  a  bar  of  this  yellowish  tinge  has  been 
developed  in  the  blue  ground  of  the  field.  At  one  end  the  lighter  color  appears  alone,  but  in  a 
deeper  tone  than  elsewhere.  The  profile  flowers,  recognized  as  of  Asia  Minor,  are  perceptible 
in  the  corners  and  in  the  central  medallion,  which  is  of  the  regulation  Caucasian  outline.  The 
pear  device,  which  covers  the  remaining  space  in  the  field,  is  of  the  Kabestans. 


— Karabagh  or  Gandja  Strip. 

Length.  13  feet  2  inches;  width,  3  feet. 

99  hand-tied  knots  (Turkish)  to  the  square  inch. 

A  sterling  rug,  though  showing  in  some  measure  the  effects  of  severe  use.  The  golden  yellow 
ground,  broken  only  by  bands  of  lighter  color,  in  deference  to  the  superstitious  fear  of  abso¬ 
lute  regularity,  is  good.  The  design  is  rather  unusual,  and,  considering  that  without  doubt 
the  rug  is  of  nomad  manufacture,  is  wrought  with  considerable  skill.  The  dominant 
element  in  the  centre  suggests  strongly  the  coordinate  design  of  the  Djushaghan  (Persian) 
carpets,  but  is  even  more  complicated  than  that,  in  so  much  as  its  resultant  is  a  repeated 
leaf  form,  while  the  Djushaghan  pattern,  arranged  diagonally,  produces  the  simpler  sem¬ 
blance  of  cross  and  stars  in  alternate  areas.  The  ground  space  thus  left  is  here  occupied 
by  conventional  Tartar  figures,  the  specific  meaning  of  which  is  probably  lost,  but  which  are 
undoubtedly  drawn  from  some  severe  form  of  insect  life.  This  inference  is  borne  out  by 
the  presence  of  the  tarantula  figure  in  the  border.  All  the  features  of  the  design,  not  omit¬ 
ting  the  “  barber-pole  ”  stripe,  which  appears  in  its  intricate  form,  seem  to  have  come  from 
the  Turko-Tartar  territories  away  beyond  the  Caspian. 


— Karabagh  Strip. 

Length,  13  feet  4  inches;  width,  3  feet  4  inches. 

99  hand-tied  knots  (Turkish)  to  the  square  inch. 

The  Turkoman  idea  is  strongly  followed  in  the  central  design;  the  tree  motive,  with  a  narrow 
“barber-pole”  stripe  serving  as  a  trunk,  is  very  common  in  many  of  the  Yomud  and 
Bokhara  rugs,  where  it  is  used  as  a  border  device.  The  borders  here  are  characteristic  of 
the  Karabagh  and  so-called  Gandja  products — the  “  wine-glass  ”  pattern  in  the  wider  border 
and  the  reciprocals  in  the  narrow  ones.  The  colors  are  big  and  bold;  the  blue  field  of  good 
quality.  Strips  from  this  section  are  by  no  means  so  plentiful  as  they  were,  for  the  output 
of  Karabagh,  since  Russia  obtained  control  of  the  Caucasus  and  transportation  became 
easier,  has  been  chiefly  in  small  oblong  rugs,  and  the  weaving  of  runners  has  been  left  for 
the  moat  part  to  the  Kurds  of  Western  Persia  and  Mesopotamia. 


1305 


1302  —  Kurdish  Strip. 

Length,  20  feet  8  inches  ;  width,  3  feet  6  inches. 

48  hand-tied  knots  Turkish  (doubled)  to  the  square  inch. 

A  sterling  piece  of  heavy  carpet  from  Kurdistan,  presenting  in  its  field  an  alternation  of  the  stand¬ 
ard  pear  and  tree  patterns.  The  pear  is  drawn  in  such  fashion  as  to  resemble  in  its  orna¬ 
mentation  the  tree  form  of  Western  Persia.  It  is  a  strong  pattern,  and  gains  in  force  from 
being  set  upon  a  wool-white  ground.  The  profile  flowers  are  shown  in  heavy  form  consistent 
with  the  general  character  of  the  fabric,  and  the  vine  is  correspondingly  strong.  The  rug 
is  worn  at  the  ends,  from  which  an  idea  may  be  got,  by  comparison,  of  its  original  thickness ; 
but  on  the  whole,  its  defects  are  few. 


1303 — Kurdish  Strip. 

Length,  2 1  feet  1 1  inches  ;  width,  3  feet  6  inches. 

48  hand-tied  knots  (Turkish,  doubled)  to  the  square  inch. 

A  companion  piece  to  No.  1302,  and  so  far  as  there  is  a  difference  this  may  be  considered  the  better 
of  the  two.  The  great  length  of  the  pair  is  most  unusual.  It  is  rarely,  save  in  the  very 
finest  of  pure  Persian  fabrics,  that  the  triclinium  strips  are  precisely  the  same  length. 
There  is  usually  a  difference  of  from  an  inch  to  a  foot.  In  width  they  are  apt  to  correspond 
much  more  closely. 


1 304 — Kurdish  S trip . 

Length,  19  feet  4  inches;  width,  4  feet  3  inches. 

80  hand-tied  knots  (Turkish)  to  the  square  inch. 

The  “honeycomb”  outline  employed  in  this  rug  and  its  companion  piece,  No.  1309,  is  found  most 
frequently  in  the  Kurd  weavings,  and  further  mark  of  the  western  mountain  people’s  handi¬ 
work  is  the  use  of  the  upright  and  uniform  tree  or  plant  shape.  This,  following  the  Kurdish 
habit,  is  so  variegated  in  color  as  to  give  the  effect  of  diagonal  rows,  alternating  light  and 
dark.  The  border  plan,  a  broad  stripe  and  two  narrow  guard  stripes,  is  one  that  has  had 
vogue  in  Middle  and  Western  Persia  for  half  a  thousand  years,  and  probably  more.  Simple 
conventional  flowers  are  used  in  ornamentation  of  the  borders,  and  the  balance  between  field 
and  border  is  well  maintained.  The  only  hint  at  realism  is  the  interpolation,  at  the  bottom 
of  the  field,  of  a  row  of  rather  mechanical  cocks.  Rude  figures  of  this  character  are  not  at 
all  uncommon  in  the  rugs  made  by  nomad  tribes  all  through  both  Kurdistan  and  the  Cau¬ 
casus.  The  Kurdistan  wool  is  famous  for  its  natural  lustre,  which  increases  with  age. 


1305  —  Royal  Persian  Rug  of  the  Fifteenth  or  Earlier  Sixteenth  Century. 

Length,  11  feet  10  inches;  width,  6  feet  lK  inches. 

600  hand-tied  knots  to  the  square  inch. 

This  is  probably  as  near  perfection  as  the  woollen  carpet  of  the  East  has  come,  or  will  ever  come. 
It  was  a  gift  from  the  Emperor  of  the  Persians,  presumably  to  the  Emperor  of  the  Turks,  for 
an  authenticated  record  in  the  possession  of  its  former  owner  set  forth  that  the  rug  was 


among  the  effects  of  the  Sultan  Abdul  Aziz  of  Turkey  at  the  time  of  his  death.  The  only 
pieces  of  this  extraordinary  character  which  have  passed  out  of  possession  of  the  Oriental 
rulers  and  satraps  who  owned  them  are  now  locked  in  the  treasure  chambers  of  other 
princes,  or  displayed  in  the  public  or  private  galleries  of  Europe. 

It  is  necessary  in  the  consideration  of  this  carpet  to  take  as  a  basis  of  comparison  the 
rug  owned  by  Prince  Alexis  Lobanow-Rostowsky,  a  reproduction  of  which,  in  colors,  was 
published  as  Plate  XI.  in  the  Vienna  Museum’s  work,  “  Oriental  Carpets.” 

In  point  of  design  the  two  rugs  correspond  so  closely,  they  are  so  evidently  of  the  same 
origin,  despite  some  minor  points  of  difference,  that  it  is  almost  imperative  that  one  should 
be  measured  and  interpreted  by  the  other.  Most  confirmatory  of  all  that  the  fabrics  them¬ 
selves  suggest  in  this  regard  is  the  authenticated  fact  that  the  Lobanow-Rostowsky  rug  passed 
into  the  hands  of  its  present  owner  directly  from  the  seraglio.  Having  here  for  examination 
the  color  reproduction  of  No.  1305,  the  reader  will  be  able,  by  means  of  what  follows,  to 
form  a  perfect  conception  of  the  companion  rug.  It  should  also  be  borne  in  mind  that  there 
is  a  chronological  and  decorative  relation  between  No.  1305  and  other  rugs  in  the  present 
collection,  as  will  be  observed  in  the  comments  upon  Nos.  1310  and  1314. 

Beginning  with  the  matter  of  color,  there  appears  here  in  the  medallions  of  both  centre 
and  border  the  uncommon  shade  of  wine  red  which  is  found  in  Nos.  1310  and  1314.  The 
green,  instead  of  being  used  as  a  ground  color  for  the  border,  is  applied  to  the  production  of 
a  higher  and  infinitely  more  artistic  effect.  Upon  a  black  central  ground  is  spread,  after  the 
fashion  of  the  Sufi  times  (see  No.  1310),  a  bewildering  but  perfectly  balanced  and  coordinate 
display  of  moss-green  creepers.  The  parent  stems,  which  are  the  framework  of  the  vine 
structure,  are  in  a  deep  shade  of  orange,  outlined  with  more  pronounced  red.  Even  these 
are  slender  and  curved  in  the  most  graceful  manner;  but  the  green  branches,  leaves,  tendrils, 
and  even  flower  shapes  which  grow  out  from  them,  are  of  incredible  delicacy  and  profusion. 
Here  and  there,  at  regular  intervals,  and  in  corresponding  positions  on  both  sides  and  ends 
of  the  field,  are  tiny  natural  flowers,  in  glowing  colors,  similar  to  those  seen  in  such  plenty 
in  the  Ardebil  carpet,  save  that  in  number  and  size  they  are  reduced  to  a  minimum  in  order 
not  to  distract  attention  from  the  more  essential  animal  figures  which  inhabit  the  field. 

In  the  centre  is  a  medallion,  with  what  for  the  sake  of  clearness  may  be  termed  “  escal- 
loped  edges,”  and  depending  from  this,  toward  each  end  of  the  rug,  though  with  no  pretense 
at  actuality,  are  the  temple  lamps.  Medallion  and  lamp  simulacra  are  both  grounded  in 
what  has  been  called  the  Ispahan  red,  and  upon  this,  in  pink — a  faint,  unobtrusive,  but 
withal  beautiful  contrast — other  fragile  interwoven  vine  traceries. 

This  serves  merely  as  a  composite  background  for  the  superb  arabesque  design  worked 
in  silver  thread,  the  pile  yarns  apparently  having  been  omitted  to  allow  the  metal  threads 
to  be  attached  directly  to  the  warp,  in  what  closely  resembles  the  Soumak  or  tapestry  stitch. 
A  very  similar  device  is  also  found  in  the  centre  of  the  Ardebil  carpet. 

In  the  innermost  space  of  the  medallion,  symmetrically  grouped,  are  four  birds, 
evidently  of  the  hawk  tribe,  drawn  with  much  skill  and  considerable  veracity.  Outside 
the  medallion,  disposed  amid  the  green  in  the  most  lifelike  attitudes  of  flight,  pursuit,  com¬ 
bat,  etc.,  are  the  animals  which  play  such  prominent  parts  in  the  Moslem  allegories,  and 
which  were,  in  fact,  endowed  with  such  large  mythological  significance  by  the  peoples  of 
Asia  long  before  the  rise  of  Mohammedanism.  The  profundity  of  meaning  which  attaches 
to  these  divers  beasts,  and  even  to  their  sundry  attitudes  and  occupations,  is  hard  to  come 
at;  but  it  is  impossible  to  overlook  the  difference  in  posture  and  relation  to  one  another 
between  the  animals  in  the  Lobanow-Rostowsky  rug  and  this.  It  is  quite  to  be  credited, 
too,  that  these  changed  attitudes  and  relationships,  coupled  with  the  wholly  dissimilar  color 
scheme,  is  meant  to  convey  a  different  meaning,  to  depict  another  state  of  feelings,  another 
stage  in  the  progress  of  the  endless  contest  between  right  and  wrong  that  the  animal  entities 
are  supposed  to  typify. 

Without  endeavoring  to  expound  the  beliefs  of  which  the  animal  kingdom  provides 
visible  symbols,  it  will  suffice  to  repeat  that  the  beasts  of  prey  generally  represent  light, 


victory,  glory,  right;  and  such  as  deer,  gazelles,  sheep,  goats,  and  the  like,  the  opposite. 
In  the  Lobanow-Rostowsky  rag  the  central  field  is  of  a  lighter  color,  verging  on  yellow,  and 
corner  spaces  are  formally  set  off,  occupied  by  the  heron  and  other  birds.  Here  the  corners 
are  abandoned,  and  the  birds  included  in  the  centre  medallion,  the  heron,  usually  an  emblem 
of  long  life,  being  omitted.  It  should  be  noted  that  the  birds  of  the  hawk  tribe  have  been 
in  all  lands  and  ages  suggestive  of  victory.  The  coincidences  in  color  and  design  here  are 
scarcely  to  be  dismissed.  They  suggest  much.  The  heron  is  left  out ;  the  hawks,  which 
occupy  the  corner  spaces  in  the  other  rug,  are  here  transferred  to  the  centre  of  the  carpet. 
The  background  is  laid  in  funereal  black,  but  traversed  and  overspread  with  the  nascent  green 
which  is  emblematic  of  renewal,  perpetuity,  and  great  spiritual  joy. 

Thus,  without  translating  the  inscriptions  on  the  rug,  which  will  be  referred  to  later  on, 
there  is  a  suggestion  of  death,  coupled  at  the  same  time  with  repeated  symbols  of  victory, 
and  a  suggestion  of  fierce  prosecution  of  the  endless  straggle  between  right  and  wrong,  light 
and  darkness. 

But  the  contest  as  figuratively  set  down  in  this  carpet  seems  to  have  progressed  to  the 
point  of  partial  conquest,  since  the  panther  has  captured  the  fawn  and  bears  it  down,  whereas 
in  the  Lobanow-Rostowsky  rag  the  movements  of  pursuit  and  flight  among  all  the  animals 
seem  to  have  just  begun.  Jackals  still  follow  the  track  of  the  deer;  the  leopard,  a  bold  and 
fierce  figure,  crouches  in  his  thicket  of  green,  ready  to  spring  upon  the  he-goats,  warring 
powers  of  evil.  The  huge  red  lion,  Persia’s  own  symbolical  beast,  an  element  not  shown  in 
the  other  rug,  roars  on  the  trail  of  the  spotted  stag,  which  turns,  terrified.  In  deep 
thickets,  close  to  the  lairs  of  lions  and  leopards,  the  timid  rabbit  hides  in  dread,  or  else¬ 
where  takes  refuge  in  flight. 

Yellow  has  in  all  ages  been  expressive  of  joy  and  victory.  It  is  royally  displayed  in  the 
broad  borders  of  the  rug,  overspread  with  fine  vine  patterns  in  a  monotone  of  orange.  In 
the  border  of  the  Lobanow-Rostowsky  rug  there  are,  all  told,  six  cartouches,  grounded  in 
black,  of  the  same  shape  as  those  found  in  the  Ardebil  carpet,  and  joined  by  escalloped 
medallions  in  the  same  manner.  But  in  No.  1305  there  are  twelve  of  these  cartouches,  instead 
of  six,  and  they  have  a  ground  color  of  the  Ispahan  red,  inlaid  with  pink  vines,  similar  to 
the  medallion  in  the  centre.  Again  the  idea  of  immortality  is  to  the  fore,  as  that  is  the 
ordinary  significance  of  the  cartouche. 

Thus,  from  first  to  last,  in  spite  of  the  black  centre,  which  suggests  a  mourning  carpet, 
there  is  the  note  of  triumph,  joy,  and  immortality.  In  view  of  the  intermittently  hostile 
relations  maintained  between  Persia  and  Turkey  during  the  era  when  the  rug  was  unques¬ 
tionably  made,  all  that  is  to  be  read  in  its  design  is  most  vital,  and  seems  expressive  of 
some  phase  of  history,  which  was  then  making  so  vigorously. 

The  inscriptions  in  the  Lobanow-Rostowsky  rug  have  been  thus  translated  in  the  book 
in  which  the  colored  reproduction  is  published : 

“  Oh  Thou,  whose  abode  is  the  seat  of  justice, 

To  whom  throne  carpets  serve  as  the  covering  of  thy  way, 

“Whose  court  the  zephyr,  as  chamberlain, 

With  the  hair  of  his  eyelids  sweeps  clean. 

“  To  whom  in  the  household  of  enjoyment  is  full  satisfaction, 

The  companion  ever  is  success,  and  whose  refuge  is  God  himself. 

“To  whom  Darius,  Alexander,  and  Feridun 
Are  as  the  meanest  of  his  army, 

“  Thou  possessest  magnanimity  and  charity, 

The  inhabitants  of  both  worlds,  here  and  above,  pray  for  thee. 

“  May  thy  power  still  everlastingly  endure, 

And  at  thy  command  the  sun  and  moon  circling  revolve.” 


The  tenor  of  these  couplets  establishes  almost  beyond  question  the  truth  of  the  declara¬ 
tion  that  the  carpet  was  made  as  a  gift  for  the  Sultan  at  that  time  reigning  in  Turkey. 

Whatever  temporal  significance  the  carpet  may  have  borne  as  a  gift  from  one  monarch 
to  another,  the  general  interpretation  outlined  above  is  amply  sustained  by  the  inscriptions 
in  the  border,  a  most  sympathetic  translation  of  which  has  been  made  by  Dr.  Richard  J.  H. 
Gottheil,  of  Columbia  University.  With  his  permission  it  is  here  given : 

“O  Saki,  the  zephyr  of  the  spring  is  blowing  now; 

The  rose  has  become  fresh  and  luxuriant. 

“  The  drops  of  the  dew  are  like  pearls  in  the  cup  of  the  tulip, 

And  the  tulip  unfolds  its  glorious  flag. 

“Narcissus  keeps  its  eye  on  the  stars, 

Like  the  nightwatch  throughout  the  night. 

“  To  sit  alone  in  the  desert  is  not 
Isolation,  with  the  company  of  wine. 

“When  Saki  passes  the  beautiful  cup  around. 

The  rosy  cheeks  of  the  beauties  become 

“Violet  for  the  love  of  the  rose, 

And  look  like  the  purple  robe  of  a  horseman.” 

The  lines,  though  it  is  difficult  to  locate  them  precisely,  are,  like  nearly  all  the  inscrip¬ 
tions  found  in  Persian  fabrics  of  whatever  age,  a  quotation  from  one  of  the  poets  of  that  most 
poetical  of  all  eras,  and  perfectly  illustrative  of  the  high  artistic  impulse  which  centuries  of 
war,  pillage,  gradually  waning  power,  and  swiftly  increasing  poverty  and  suffering  have 
failed  to  eliminate  from  the  Persian  nature. 

Another  important  difference  between  the  carpets  which  have  been  here  “paired”  in  con¬ 
sideration  is  the  absence  from  No.  1305  of  the  Chinese  cloud  band,  which  figures  so  promi¬ 
nently  in  the  other  piece.  The  rug  No.  1305  is  excessively  and  exclusively  Persian,  and  of 
the  purest  type.  There  is  plainly  some  earlier  and  more  purely  Iranian  influence  at  work  in 
it  even  than  that  which  designed  the  Ardebil  carpet,  for  in  that  the  cloud  band,  repeated 
times  without  number,  completely  fills  the  inner  narrow  stripe  of  border,  while  here  it  is 
omitted  along  with  everything  else  that  is  not  wholly  Persian  in  character.  In  the  medal¬ 
lions  between  the  inscribed  cartouches  there  will  be  seen  the  light  blue  which  afterwards 
became  so  common  in  the  Ispahan  rugs,  and  particularly  those  of  the  Shah  Abbas  class  (see 
Nos.  1310  and  1314). 

The  lotus  flower,  so  gigantic  in  the  Shah  Abbas  design,  is  here  in  many  places,  but  very 
modestly  drawn,  even  more  so  than  it  is  in  No.  1310,  and  in  some  places  merely  laid  in  green 
as  an  addition  to  the  dense  foliage  mass  in  the  centre. 

Something  should  be  said  regarding  the  condition  of  this  most  remarkable  fabric.  Since 
coming  to  this  country  many  years  ago  it  has  been  once  exhibited  in  public,  and  privately 
examined  by  many  persons.  Some  of  these  have  not  hesitated  to  say  that  the  centre  of  the 
rug  alone  was  genuinely  old,  and  that  the  superb  yellow  border,  with  its  cartouches  of 
Ispahan  red,  its  inscriptions  in  silver  thread,  and  all  the  rest,  had  been  added  at  a  later 
period  to  replace  the  original  border,  which  had  been  worn  away. 

These  opinions  have  been  founded,  I  presume,  upon  the  fact  that  the  black  ground 
of  the  centre  is  so  badly  worn  that  the  yellow  silk  foundations  show  through  in  many 
places.  Whether  this  be  the  reason  or  no,  the  contention  is  ridiculous.  This  black  dye, 
decocted  with  the  aid  of  iron  filings,  is  notorious  throughout  Asia  for  its  corrosion  of  the 
wool,  as  stated  elsewhere  in  this  catalogue,  while  there  is  no  color  less  injurious  than  the 
yellows,  which  are  made  from  the  Persian  yellow  berries.  It  may  be  true,  or  it  may  not,  that 
Eastern  weavers  use  this  dye  in  order  that  the  designs  laid  upon  it  in  some  livelier  color  may 
ultimately  stand  out  in  actual  relief,  an  effect  of  which  the  Oriental  is  intensely  fond.  The 
manner  in  which  the  green  creepers  and  leaves  are  thrown  up  by  the  means  in  this  carpet  is 
certainly  admirable,  whether  it  was  intentional  or  not. 


1308 


It  is  easy  to  multiply  arguments  which  must  convince  any  person  of  the  absolute  genuine¬ 
ness  and  integrity  of  this  carpet.  A  new  border  assuredly  need  not  have  been  woven  on  for  a 
century,  for  the  commonest  of  rugs  will  last  that  long  under  Oriental  usage  without  material 
injury.  Where,  then,  after  the  middle  of  the  seventeenth  century,  was  the  Ispahan  red  to  be 
found  for  the  border  cartouches,  to  match  so  precisely  the  shade  of  the  centre  medallion  ?  But 
the  most  conclusive  of  all  arguments  is  that  examination  of  the  back  of  the  rug,  long  ago  cov¬ 
ered  with  cloth  in  order  to  protect  it,  shows,  with  or  without  the  aid  of  the  glass,  that  the 
warp  is  unbroken  between  the  field  and  border  at  the  ends ;  that  only  one  quality  of  material 
is  used;  and  that  the  knots,  amazingly  fine  and  regular,  proceed  over  the  dividing  line 
absolutely  without  interruption. 

The  worn  spot  in  any  Eastern  carpet  that  has  been  long  used  in  an  apartment  of  state 
is  almost  always  at  one  end  of  the  field,  where  the  owner  or  user  sits.  Servants  or  guests, 
or,  in  this  case,  subjects,  would  surely  never  have  ventured  to  set  foot  upon  the  rug.  The 
condition  of  the  fabric  bears  out  this  inference  as  to  the  cause.  One  end  of  the  field  is  very 
badly  worn — so  badly  that  here  and  there  the  ground  vines  have  almost  entirely  disappeared. 
In  such  places  effort  at  restoration  has  been  made,  threads  of  black  silk,  apparently,  being 
used  for  the  purpose.  The  undertaking  was  a  lamentable  failure,  and  was  abandoned,  the 
paint-brush  being  used  instead.  Considerable  portions  of  the  ground  space,  it  can  be  plainly 
seen,  have  been  daubed  with  some  dull  black  pigment,  which  at  least  preserves  the  color 
scheme  and  pictorial  integrity  of  the  rug.  In  two  places,  one  on  each  side  of  the  field,  near 
the  medallion,  and  adjoining  two  corresponding  flowers  which  are  laid  in  silver  thread, 
artisans  of  a  later  day  have  tried  to  weave  in  small  portions  of  the  design,  and  on  one  side 
effort  has  been  made  to  replace  part  of  the  silver  flower  itself.  Nothing,  in  view  of  the 
criticism  that  has  been  passed  on  this  rug,  could  be  more  fortunate  than  this.  The  botch 
that  has  been  made  of  these  small  essays  shows  beyond  possibility  of  dispute  what  likelihood 
there  is  that  any  weaver  within  the  last  two  centuries  has  ever  woven  in  anew  the  entire 
border  system. 


1306  —  Kashkai  Shir  a %  Kali. 

Length,  1 4  feet  5  inches ;  width,  5  feet  8  inches. 

48  hand-tied  knots  (Turkish,  doubled)  to  the  square  inch. 

Most  of  what  has  been  said  of  No.  1291  is  equally  applicable  to  this  piece.  There  is  apparent 
here  the  same  likeness  to  the  Tchechen  and  other  Caucasian  fabrics,  the  same  multitude  of 
small  separate  patterns  scattered  throughout  the  field  wherever  ground  space  offers.  Some¬ 
what  shorter  than  No.  1291,  and  a  little  more  compact  in  pile,  considerably  older,  and 
bearing  witness  to  the  hard  wear  it  has  undergone,  the  rug  is  still  strong  in  color  and 
fit  for  many  decades  of  service. 


1307  —  Koultuk  Runner,  or  Makatlik. 

Length,  15  feet  10  inches;  width,  3  feet  3  inches. 

56  hand-tied  knots  (Turkish)  to  the  square  inch. 

Of  the  Herat,  or  “  fish”  pattern,  which  is  wrought  into  the  rugs  of  practically  every  province  of 
Persia,  there  are  two  common  forms.  One  is  closely  woven,  showing  but  little  of  the  ground 


color ;  the  other,  on  a  larger  scale,  or  at  least  more  openly,  with  less  of  diaper  effect,  and 
depending  for  effectiveness  on  the  strong  relief  in  which  the  design  stands  out  upon  its  field. 
This  strip,  woven  by  the  shepherd  tribes  in  Northwestern  Persia,  is  illustrative  of  the  open 
form.  In  the  broad  border  it  carries,  rather  largely  drawn,  the  repeated  “  S”  shape  of  the 
Turks,  itself  a  very  ancient  symbol.  The  narrow  borders  show  the  influence  of  Southern 
Kurdistan,  in  many  of  whose  heavy  carpets  is  found  the  heavy  version  of  the  vine  and  flower 
here  employed.  The  variegation  in  the  overcasting  is  a  hint  from  the  rugs  of  Shiraz ;  the 
sudden  shifting  of  colors  in  several  parts  of  the  design  is  Kurdish,  and  from  Kurdistan 
also,  no  doubt,  are  derived  the  excellent  yellow  and  blue  which  predominate  in  field  and 
border. 


1308 — Laristan  Rug. 

Length,  15  feet;  width,  5  feet  6  inches. 

63  hand-tied  knots  (Turkish)  to  the  square  inch. 

No  doubt  an  overwhelming  majority  of  the  rug-wise  would  promptly  class  this  rug  of  Shiraz.  It 
would  be  inventoried  as  such  in  all  Western  rug  markets,  inclusive,  probably,  of  Constanti¬ 
nople  itself.  For  substantial  reasons,  however,  it  may  be  more  accurately  placed  among  the 
products  of  Laristan,  lying  south  of  Farsistan.  There  is  a  phenomenal  depth  and  lustre  in 
the  blue,  which  is  usually  found  only  in  the  heavy  rugs  of  the  Mina  Khani  design,  chiefly 
woven  a  little  farther  northward,  in  the  mountain  country  of  the  Zagros  and  Bakhtiyari.  The 
Shiraz  indication  in  this  piece  is  the  striped  webbing  at  the  ends,  which  is  really  a  Turko¬ 
man  conceit,  brought  into  the  south  by  migratory  northern  tribes,  and  not  found  in  the  pure 
old  Shiraz  products.  Shiraz  being  the  metropolis  of  the  southwest,  and  a  collecting  point 
for  the  rugs  of  that  territory,  has,  like  Bokhara  in  Turkestan,  unquestionably  given  its  name 
to  many  rugs  made  at  considerable  distance  away.  This  “pear”  or  “cone”  pattern  is 
most  prominent  in  the  carpets  of  Sarawan  (Saraband),  where  it  fills  up  the  entire  ground, 
and  throughout  lower  Kurdistan  and  the  provinces  lying  over  against  the  Persian  Gulf.  In 
the  Sarabands  it  is  small,  but  seems  to  increase  in  size  as  it  journeys  southward,  arriving  in 
Laristan  and  Western  Farsistan  at  a  magnitude  equalled  only  in  certain  Kabestans  and  Baku 
fabrics.  (See  No.  1297.)  What  makes  it  more  likely  that  this  form  of  the  pattern  has  been 
developed  in  the  western  ranges  is  that  its  decoration,  sometimes  most  complex,  gives  it  the 
tree  form  so  common  among  the  Kurds  who  inhabit  this  mountain  district  in  such  great 
numbers.  In  the  Kurdish  districts  to  the  north  the  striped  webbing  at  the  ends  of  the  rug  is 
replaced  by  a  simple  parti-colored  stitching  of  wool ;  but  throughout  Farsistan  and  Laristan 
the  so-called  Shiraz  striping  maintains.  There  is  apparent  in  this  splendid  blue  fabric,  how¬ 
ever,  no  trace  of  parti-coloration  in  the  overcasting,  which  prevails  in  so  many  Shiraz  rugs, 
even  to  the  fine  old  pieces  of  pure  Persian  design. 

Dismissing  argument  as  to  the  locality  of  its  origin,  attention  should  be  called  to  the 
splendid  consistency  of  the  carpet,  both  in  figuration  and  color.  Instead  of  any  complicated 
border  design,  the  “pear”  figure,  only  a  little  reduced  in  size,  is  used  in  the  border,  and 
the  border  ground  is  a  deep  red,  closely  approaching  the  ruby  color  of  the  Bergamos. 

In  the  field  there  is  just  sufficient  departure  from  the  pear  device  to  satisfy  the  super¬ 
stitious  notion,  common  among  the  mountain  people,  that  a  touch  of  irregularity  combats 
the  evil  spirits.  Once  the  pear  is  omitted  to  make  way  for  a  dense  array  of  colored  spots 
representing  nothing  in  particular.  Once  appears  the  eight-pointed  star  of  the  Medes ;  twice 
the  octagons,  such  as  are  found  in  the  Tekke  rugs ;  and  once,  where  half  the  pear  figure  has 
been  purposely  omitted,  a  “  wooden  ”  animal  shape  of  the  sort  that  figure  in  the  carpets  of 
the  Caucasians  and  Northern  Kurds. 


From  its  shape  and  dimensions  there  is  reason  to  believe  that  this  rug  is  only  the 
sarandaz,  or  short  strip,  which  lies  across  the  end  in  the  triclinium  scheme  of  carpeting,  and 
somewhere  in  the  world  are  the  huge  centrepiece  and  the  equally  substantial  side  strips 
which  were  woven  to  accompany  it.  It  is  hard  to  imagine  a  more  splendid  covering  for  the 
floor  of  a  large  apartment  than  these  four  sections  formed  when  they  were  united.  The 
making  of  the  blue,  of  which  such  magnificent  display  is  made  here,  is  practically  a  lost  art 
in  Persia  since  the  introduction  of  the  chemical  dyes,  and  in  the  whole  range  of  Persian 
fabrics  it  would  probably  be  impossible  to  discover  a  finer  example  than  this  of  the  lumi¬ 
nosity  of  wool. 


1309  —  Kurdish  Strip.  (Companion  piece  to  No.  1304.) 

Length,  19  feet  2  inches;  width,  3  feet. 

80  hand-tied  knots  (Turkish)  to  the  square  inch. 

The  makatlik,  or  kinan — the  Turkish  and  Persian  names,  respectively,  for  these  runners — are 
merely  the  side  strips  of  the  triclinium  arrangement,  which  is  the  most  ancient  form  of 
floor  covering  for  large  apartments.  It  follows,  then,  that  in  the  native  manufacture  these 
should  be  made  in  pairs,  to  accompany  the  centre  carpet,  or  kali.  In  late  years  it  has  not 
been  customary  to  send  these  pairs  to  America  or  Europe,  but  to  separate  them  in  the 
Persian  trade  centres  or  in  Constantinople,  and  ship  them  singly  to  widely  remote  places. 
A  premium  is  thus  secured  upon  the  pairs  which  are  occasionally  sent  to  the  Western  markets. 


1310 — Persian  Carpet  of  Middle  Sixteenth  Century. 

Length,  16  feet  2  inches;  width,  7  feet  1  inch. 

195  hand-tied  knots  (Persian)  to  the  square  inch. 


Apart  from  its  extraordinary  beauty  and  deft  workmanship,  this  carpet  is  of  large  interest  as  an 
historical  index.  In  the  sixteenth  century  Persia  was  at  the  zenith  in  point  both  of  power 
and  artistic  development.  Events  followed  each  other  with  extraordinary  rapidity.  Wealth 
was  fabulously  increased  by  conquest,  and  was  poured  out,  as  it  never  has  been  in  any  suc¬ 
ceeding  epoch,  upon  the  cultivation  of  the  arts  and  the  construction  of  great  public  works, 
both  of  architecture  and  engineering.  The  effect  of  this  renaissance  in  thought  and 
accomplishment  all  the  subsequent  disaster,  degeneration,  and  poverty  have  not  wholly 
obliterated. 

Throughout  the  ascendancy  of  the  Sufi  dynasty  Persia  was  a  land  inspired.  The  reaction 
from  the  influence  of  the  Turkoman  rulers  who  followed  Tamerlane  was  mighty  and  wide¬ 
spread.  During  the  earlier  reigns — that  of  Ismael  Sufi  in  particular — -aestheticism  was  the 
very  life  and  breath  of  the  people.  The  poets  were  the  teachers,  more  heroic  figures  in 
popular  vision  even  than  the  warriors.  Every  workman  knew  his  Hafiz,  and  couplets  of  verse 
were  woven  into  the  carpets  in  designs  which  are  copied  into  the  finer  fabrics  even  to  this 
day.  The  Ardebil  carpet,  now  famous,  which  was  woven  for  the  tomb  of  Sheikh  Sufi, 
founder  of  the  line  and  father  of  Ismael — is  perhaps  the  most  perfect  textile  exposition  of 
the  art  of  that  time,  and  fixes  a  standard  of  comparison  that  has  become  indispensable. 

With  the  advent  of  Abbas  the  Great  began  a  period  of  conquest,  a  restoration  of  the 
boundaries  of  the  empire  in  all  directions,  and  an  establishment  of  closer  relations  with  the 


nations  of  Europe.  A  more  practical  spirit  prevailed,  and  the  change  is  plainly  visible  in 
the  weavings. 

It  is  quite  the  custom  to  give  to  all  the  carpets  of  this  peculiar  coloring,  and  embodying 
these  features  of  design,  the  name  of  “  Shah  Abbas,”  and  to  fix  the  period  as  the  sixteenth 
century;  but  it  must  be  observed  that  the  most  distinguished  of  Persian  rulers  did  not  mount 
the  throne  until  1586,  and  that  for  some  years  thereafter  he  lay  ill,  while  enemies  and  rebels 
devastated  his  empire.  After  him,  for  nearly  a  hundred  years,  Persia  was  stagnant.  His 
immediate  successors  were  debauchees  or  idlers,  through  whose  neglect  achievement  in  art 
as  well  as  arms  was  suffered  to  decline. 

Considering  the  internal  evidences  of  this  carpet,  I  incline  to  the  belief  that  it  is  not 
strictly  of  the  Shah  Abbas  group,  although  the  ground  colors  of  field  and  border  are  like, 
and  there  are  incipient  in  it  the  features  which  afterwards  distinguished  the  undisputed 
Shah  Abbas  design.  The  softness  of  the  color  and  many  things  in  the  figuration  claim 
for  it  a  somewhat  earlier  place  in  the  century.  It  marks  an  intermediate  stage  in  the  evolu¬ 
tion  of  carpet  patterns. 

In  order  to  make  clear  the  ground  for  this  inference,  it  is  necessary  to  invite  comparison 
of  this  carpet  with  several  others  in  the  collection.  In  this  order — 1282,  1284,  1305,  1310, 
1314 — they  seem  to  tell  a  chronological  story  of  the  trend  of  artistic  accomplishment  in 
Iran,  and  trace  the  changing  spirit  of  the  people  during  the  sixteenth  and  earlier  part  of 
the  seventeenth  centuries. 

Reserving  for  its  proper  place  all  comment  on  the  other  pieces  referred  to,  it  suffices  to 
say  regarding  No.  1310  that  it  retains  in  large  measure  the  fine  vine  effects  which  make  the 
field  of  No.  1305  so  indescribably  rich  and  beautiful,  and  which,  with  considerable  attendant 
floral  display,  distinguish  the  masterpiece  of  Ardebil.  (See  “Oriental  Rugs,”  page  244.) 
The  touch  of  the  finer  sentiment  is  here,  a  breath  of  the  earlier  atmosphere  which  was  per¬ 
vaded  by  the  poesy  of  Hafiz  and  the  lofty  moralism  of  Sa’di.  The  exquisite  nature  suggestion 
obtainable  only  by  the  use  of  green  for  the  vines  and  creepers  is  the  chief  charm  of  the 
carpet;  its  shrewd  modulation  of  color — a  lighter  shade  of  the  Ispahan  red  being  chosen  to 
harmonize  with  the  slender,  curving  vines  and  shoots — bespeaks  for  the  weaver  a  delicate 
sensibility  to  atmosphere  and  precise  color  value.  This  combination  of  wine  color  for  the 
field  and  green  for  the  border  is  peculiarly  characteristic  of  the  Persian  art  of  the  great  cen¬ 
tury;  but  in  the  figuration  are  the  elements  which  later  on,  increasing  in  magnitude  as  the 
Persian  life  became  less  of  a  dream  and  more  of  a  struggle,  made  up  the  recognized  Shah 
Abbas  design.  The  lotus  forms  and  the  cloud  band — the  latter  introduced  into  Persian 
design  from  the  East — are  here,  and  they  are  in  the  Ardebil  carpet,  but  not  in  the  Titanic 
size  or  bold  color  which  they  bore  fifty  years  afterwards,  and  which  they  still  retain  in  the 
big  carpets  of  modern  Persia.  There  is  also  discernible  in  minute  form  in  the  border  the 
lancet  leaf,  and,  as  dominant  factors,  the  bold  rosette  and  palmette,  in  alternation,  all  of 
which  were  combined  to  make  the  regulation  Herati  design  of  later  times. 

That  the  weavers  of  the  capital — for  it  seems  past  question  that  the  carpets  of  this  class 
were  made  upon  the  palace  looms  of  Ispahan — still  worked  with  a  masterly  comprehension 
of  ultimate  general  effect,  is  further  proven  by  the  emphasis  in  the  field  of  this  rug.  These 
are  effected  in  the  simplest  manner,  by  projecting  a  very  few  of  the  leaf  and  flower  forms  in 
the  centre  and  at  the  ends  of  the  field  in  stronger  and  darker  color.  In  the  centre  a  perfect 
medallion  effect  is  thus  secured  without  the  use  of  any  cumbrous  outline  figure,  and  at  the 
ends,  by  the  aid  of  the  palmette  shape  and  the  leaf,  the  accent  is  carried  into  the  corners 
and  a  clever  harmony  established  between  the  field  and  the  deep  green  and  more  pronounced 
pattern  of  the  border. 

Special  heed  should  be  given  to  the  palmettes  and  lotus  forms  in  this  rug.  They  are 
the  foundation  elements  of  the  recognized  Shah  Abbas  design,  which  seems  to  have  reached 
its  final  stage  of  evolution  during  the  latter  part  of  the  century,  and  which,  subject,  of  course, 
to  the  general  decadence  of  Persian  art  and  craftsmanship,  has  remained  to  the  present  time. 
The  next  step  in  its  development  may  be  seen  in  No.  13x4. 


—  Very  Old  Caucasian  Fragment. 

Length,  14  feet  6  inches;  width,  10  feet  2  inches. 

80  hand-tied  knots  (Turkish)  to  the  square  inch. 

The  ruin  of  a  rug  which  in  its  lifetime  must  have  been  of  bold,  pleasing  design  and  excellent  color. 
It  is  probably  of  the  Karabagh  or  some  other  Caucasian  variety,  to  judge  from  what  is  left 
of  the  piled  design  and  the  finishings.  In  the  beginning  it  was  considerably  larger  than  it 
is  now.  The  place  where  it  has  been  cut  in  the  middle  and  joined  again  is  clearly  visible. 
The  outer  narrow  border  is  gone.  These  narrow  stripes,  to  judge  from  the  inner  ones,  were 
grounded  in  wool  white.  The  main  border  had  probably  a  pale  blue  ground,  and  carried 
a  design  remotely  derived  from  the  Persian,  but  treated  in  the  rectilinear  manner  of  the 
Caucasians.  The  ground  color  of  the  field  was  a  pronounced  red,  much  like  that  used  in 
parts  of  the  Caucasus  and  Asia  Minor.  Upon  this  are  some  bold  medallions,  in  various 
colors,  some  traces  of  which,  notably  the  green,  remain.  One  of  the  most  prominent  figures 
is  a  modified  tarantula  form,  which  appears  alternately  with  others  in  the  ground,  and  in 
yellow  in  the  large  escutcheon  of  the  main  border.  A  considerable  amount  of  excellent 
yellow  was  used,  particularly  to  outline  the  vines,  which  were  big  and  irregular.  The  paint¬ 
brush  has  been  called  into  service  to  restore  some  of  the  decorative  effect  of  the  fabric,  but 
in  the  painting  no  effort  has  been  made  to  counterfeit  the  design,  no  deception  has  been 
practised.  The  object  seems  to  have  been  merely  to  break  the  blank  expanse  of  white  pre¬ 
sented  by  the  pileless  foundations,  which  age  has  left  exposed,  and  as  a  curio  or  a  wall 
ornament  the  rug  still  possesses  most  admirable  qualities. 


—  Chinese  Rug. 

Length,  14  feet  2  inches;  width,  14  feet  9  inches. 

42  hand-tied  knots  (Persian)  to  the  square  inch. 

It  will  be  hard  to  find  a  better  illustration  than  this  of  the  heavy,  old  Chinese  rugs,  of  which  so 
many  inferior  and  oftentimes  worthless  copies  are  seen  nowadays.  In  coloring  as  well  as 
design  it  is  Mongolian  in  character,  with  little  if  any  hint  of  Persian  or  other  influence.  It 
is  worthy  of  remark,  as  indicative  of  the  individuality  of  Chinese  design,  that  while  Chinese 
decorative  conceits  and  textile  methods  have  found  their  way  in  plenty  into  the  rugs  of 
almost  every  part  of  Asia,  there  is  little  or  nothing  in  the  native  products  of  China,  or  even 
of  Chinese  Turkestan,  to  show  a  yielding  to  Persian  or  any  other  Western  influence.  In  the 
rugs  of  Samarkand,  many  of  them  woven  under  Persian  instruction,  and  in  some  fabrics  of 
Afghanistan,  which  was  formerly  part  and  parcel  of  the  Persian  Empire,  there  are  some 
Persian  patterns.  As  for  the  texture,  it  is  impossible  to  say  whether  the  knot  here  used — 
generally  known  as  the  Sehna,  or  Persian  knot — is  really  a  Persian  invention  or  that  of  some 
Mongolian  country  farther  to  the  east. 

A  glowing  virtue  of  the  rug,  in  these  days  of  square  rooms,  is  its  shape,  a  most  unusual 
one.  In  spite  of  its  size  it  will  be  noticed  that  one  dimension  exceeds  the  other  by  only 
seven  inches,  and  that  this  proportion  is  nearly  maintained  in  the  great  four-sided  squares 
into  which  the  field  is  divided.  The  colors  used  are  few,  only  four  or  five  altogether,  and 
a  singular  softness  is  lent  to  these  by  the  almost  horizontal  “  lie  ”  of  the  pile,  an  effect  pro¬ 
duced  by  a  multiplication  of  the  weft  yarns.  With  the  side  rather  than  the  ends  of  the  yarns 
exposed,  the  light  has  full  play  upon  the  colors,  which  gain  or  lose  in  illumination  as  the 


view-point  is  changed.  This  is  most  perceptible  in  the  extraordinary  color  used  for  the 
ground — a  color  purely  Chinese,  and  for  which  there  is  no  single  descriptive  term.  Some¬ 
times  it  is  a  pale  salmon  pink,  again  a  deep  tinge  of  terra-cotta  appears,  and  from  yet 
another  angle  it  is  almost  yellow.  The  line  with  which  the  great  squares  are  defined  upon 
this  is  double,  of  light  blue  and  dark  blue.  The  effect  of  all  this  would  be  hard  and 
unpleasant,  were  it  not  that  the  comers  of  every  square  are,  after  a  fashion,  truncated,  and 
the  four  contingent  triangles  thus  cut  from  four  adjoining  squares  go  to  form  smaller  lozenge 
shapes,  which  relieve  the  heavy  effect  of  the  larger  figures  at  the  point  where  intersection 
would  be  expected.  Even  there  the  weaver’s  ingenuity  is  not  exhausted.  The  whole  design 
is  further  lightened  by  forming  the  lozenge  shapes,  not  with  severe  rectilinear  drawing,  but 
by  turning  the  straight  lines  back  in  counter-balancing  semicircles.  Thus,  despite  the  pre¬ 
ponderance  of  the  rectilinear,  every  parti-colored  straight  line  ends  in  a  curve.  The  staring 
blank  space  within  each  big  panel  is  relieved  with  a  realistic  figure  of  some  sort.  These  run 
in  rows.  In  one  row  are  dragons,  in  another  birds,  in  yet  others  a  flower  or  a  stem  of 
flowers,  as  the  case  may  be.  These  flower  stems  are  the  prototypes  of  those  found  in  the 
borders  of  many  Ghiordes  prayer  rugs. 

Nothing  about  the  rug  shows  the  skill  of  its  designers  in  the  production  of  color  effects 
more  clearly  than  the  border.  Its  ground  color,  unlike  that  of  nearly  all  rugs  of  Western  Asia, 
is  the  same  as  that  of  the  field,  from  which  it  is  set  apart  by  the  heavy  line  of  dark  blue  and 
light  blue,  supplemented  merely  by  an  equally  heavy  line  of  white.  The  division  is  com¬ 
plete,  but  so  easily  accomplished  that  the  unity  of  the  whole  is  not  in  the  smallest  degree 
disturbed.  It  is  still  further  maintained  by  laying  the  border  pattern  in  pale  golden  yellow 
upon  the  reddish-pink  ground,  a  trick  of  coloring  much  practised  by  the  earlier  Persian 
weavers.  To  give  a  final  uplift  to  the  rug’s  bright  and  harmonious  coloring,  there  is  woven 
outside  the  design  a  broad  band  of  dingy  brown,  such  as  is  seen  in  well-nigh  all  the  weavings 
of  Hamadan  and  in  many  from  the  Kurdish  country  adjoining.  In  these  fabrics  the  filament 
used  is  camel’s  hair  in  its  natural  state,  but  it  is  plain  from  both  the  color  and  quality  of 
the  band  in  the  Chinese  rug  that  it  is  composed  of  some  other  animal  filament,  which  may 
be,  and  probably  is,  the  fleece  of  the  yak,  or  water  buffalo,  so  frequent  in  Western  China  and 
some  neighboring  countries.  The  age  of  the  rug  and  the  wonderful  fastness  of  its  colors  are 
to  be  inferred  from  the  worn  condition  of  the  outer  band. 


1313  —  Antique  India  Rug . 

Length,  20  feet  5  inches;  width,  14  feet  8  inches. 

64  hand-tied  knots  to  the  square  inch. 

Nothing  is  more  rarely  encountered  in  rug  collections  in  this  century  than  are  the  old-school  rugs 
of  India,  of  which  this  is  an  indubitable  example.  The  excellent  material,  sterling  color,  and 
thorough  workmanship  which  prevailed  in  India  up  to  less  than  seventy-five  years  ago  gave 
way  before  the  organization  of  the  prison  industry,  and  the  caste  weavers  were  practically 
driven  from  the  looms  through  their  inability  to  compete  with  contract  labor  in  the  jails. 

The  demand  for  the  old-fashioned  carpets  of  India — Lahore,  Cashmere,  Warungul,  and 
other  weaving  centres — has  always  been  great,  especially  in  England.  When  the  products 
became  debauched  by  the  prison  system,  the  old  pieces  began  to  command  large  prices, 
which  increased  at  a  rapid  pace.  For  many  years  now  these  fabrics  have  been  utterly  unob¬ 
tainable  through  the  channels  of  commerce. 

The  carpet  industry  of  India,  even  in  the  beginning,  was  a  Mohammedan  importation, 
and  in  the  northern  provinces  patterns  as  well  as  textile  methods  were  borrowed  from  the 
Persians,  so  that  the  old  carpets  of  Lahore  and  Delhi  were  almost  perfect  counterparts  of 
those  woven  about  Ghayn,  Burujird,  Meshhed,  and  other  parts  of  the  Persian  province  of 


Khorassan.  The  new  and  steadily  improving  industry  of  carpet  making  in  India  follows  the 
same  teaching,  and  while  the  fabrics  are  incomparably  better  than  the  prison  output  in 
quality  and  color,  in  fact  equal  to  many  grades  of  Persian  carpets,  the  designs  used  are 
chiefly  of  a  Persian  character,  modified  and  combined  by  European  and  American  artists  to 
catch  the  Western  fancy. 

In  the  central  and  southern  parts  of  India,  however,  the  Hindu  designs  were  rather 
persistently  adhered  to.  It  is  difficult,  nay,  impossible,  to  discover  in  this  carpet  any  stand¬ 
ard  Persian  features  of  design.  The  rug  is  floral  in  character,  and  in  its  field  the  drawing 
of  vines,  leaves,  and  flowers  is  distinctly  realistic ;  but  none  of  the  recognized  Persian  devices 
is  here.  The  lattice  arrangement,  effected  by  the  vines  upon  the  white  ground,  is  much 
more  suggestive  of  the  Turko-Tartar  or  Moghal  influences,  though  the  geometrical  treatment 
apparent  in  all  Turkoman  fabrics  as  far  south  as  Beluchistan  is  missing. 

This  absence  of  Persian  traces  would  indicate  that  the  rug  was  woven  in  some  place 
rather  well  to  the  south,  in  which  the  Hindu  population  remained  more  independent.  The 
southernmost  parts  of  India,  however,  have  always  suffered  from  a  scarcity  of  workable  wool, 
and  the  native  carpets  woven  there  have  usually  been  made  of  cotton.  When,  under  the 
Mohammedan  sway  and  afterwards,  wool  rugs  were  made  in  the  southern  provinces  of  India, 
it  was  necessary  to  bring  wool  from  the  Punjab,  or  even  farther  north,  and  the  same  thing 
is  done  to  this  day.  It  is  altogether  likely  that  such  is  the  case  with  this  rug.  It  is  quite 
impossible  to  fix  definitely  upon  the  place  where  it  was  woven,  or  to  determine  its  exact 
age,  though  its  excellent  color — witness  the  deep  red  throughout — is  proof  that  it  was  made 
long  before  the  deterioration  of  dyes  or  patterns  set  in.  The  condition  of  the  pile  also  cor¬ 
roborates  this  conclusion.  Experts  who  have  been  asked  to  pass  judgment  upon  it  hold  the 
opinion  that  it  is  one  of  the  older  products  of  Masulipatam,  on  the  eastern  coast. 

The  borders,  not  in  design,  but  in  number,  afford  the  only  hint  of  Persian  influence. 
This  same  multiplicity  of  narrow  stripes  flanking  the  broad  principal  stripe  is  found  even 
to  the  present  time  in  the  heavy  carpets  of  Khorassan,  where  their  pictorial  value  is  practi¬ 
cally  the  same  as  it  is  here.  The  border  design  is  wholly  Indian  in  character. 

One  of  the  most  interesting  features  of  the  rug  is  the  grayish-brown  material  used  in  all 
parts  of  it  in  working  out  the  design.  This  seems,  under  the  glass,  to  be  a  mixture  of 
some  animal  hair  with  the  remarkable  vegetable  fibre  used  so  extensively  in  various  parts  of 
India,  even  now,  in  textiles.  The  absence  of  dye  in  these  ashen-browm  spaces  has  apparently 
served  to  prolong  the  life  of  the  filament,  and  wherever  it  is  used  the  pile  stands  in  very 
palpable  relief  above  the  dyed  surfaces  surrounding  it. 

Whatever  its  actual  birthplace,  there  is  such  genuineness  about  the  carpet,  such  uncom¬ 
monness  of  design,  such  solidity  of  texture,  such  strength  and  honesty  of  color,  and  such 
a  bright  and  altogether  likable  appearance  generally,  that  it  would  command  attention  even 
were  it  not,  as  beyond  question  it  is,  one  of  a  class  now  extinct,  and  which,  in  all  proba¬ 
bility,  will  never  be  revived. 


1314 — Sixteenth  Century  Ispahan. 

Length,  22  feet  8  inches ;  width,  9  feet  5  inches. 

156  hand-tied  knots  to  the  square  inch. 

By  contrasting  this  carpet  with  No.  1310,  it  is  easy  to  measure  the  change  which  came  over  the  art 
of  Persia  in  the  reign  of  Abbas.  A  far  more  virile  impulse  is  apparent.  The  intertwined 
vines  and  creepers,  so  studiously  spread  upon  the  field  to  form  a  balanced  design  in  No.  1310, 
are  virtually  abandoned,  and  the  floral  devices,  the  lotus  and  the  palmette  shape,  as  well  as 
the  cloud  band,  are  enlarged,  not  merely  in  proportion  to  the  greater  dimensions  of  the 


carpet,  but  for  the  quite  evident  purpose  of  filling  the  field  space  and  replacing  the  fine 
complexity  of  vines.  They  are  no  longer  flowers  in  natural  connection  with  the  vines,  but 
have  been  transformed  by  their  very  enlargement  into  set  patterns,  bald,  massive,  and  in 
such  vigorous  coloring  as  shall  emphasize  the  design  at  every  point. 

This  strength,  so  impressive  even  after  the  lapse  of  three  hundred  years,  was  much 
greater  when  the  carpet  was  new,  for  many  of  the  areas  were  filled  in  with  the  dead  black  to 
which  reference  is  made  elsewhere,  which  consumes  the  wool.  The  disintegration  and  final 
disappearance  of  the  pile  in  such  places,  leaving  only  the  blank  white  of  the  foundations, 
has  naturally  brightened  the  whole  carpet.  Instead  of  preserving  the  all-over  vine  effect 
common  to  the  earlier  carpets,  and  establishing  the  central  and  corner  masses  by  grouping 
of  the  large  flower  figures,  these  flowers  have  been  so  multiplied,  magnified,  and  distributed 
as  to  produce  in  themselves  a  colossal  diaper  design. 

There  is  in  this,  too,  a  certain  concession  to  the  northern  tendency,  for  while  the  central 
point,  so  essential  in  all  the  high-class  weavings  of  the  earlier  time,  is,  in  a  way,  retained, 
the  arrangement  of  the  huge  flowers  involves  something  of  the  perpendicular  row  effect  dis¬ 
tinctive  of  the  rugs  of  the  middle  and  northern  districts. 

At  first  glance  the  unity  of  the  design  is  not  apparent  altogether,  and  the  rug  does  not 
compare  in  this  regard  with  No.  1310;  much  less,  of  course,  with  No.  1305,  which  was  woven 
for  a  royal  gift,  and  which  exemplifies  a  far  higher  order  of  textile  work. 

For  sheer  opulence  of  color — almost  barbaric  splendor  and  vigor — No.  1314  must  be 
accounted  a  phenomenon;  but  compared  with  the  rugs  which  precede  it  in  the  Isapahan 
school,  or  even  with  the  more  delicate  creations  of  Shiraz  and  of  Feraghan,  it  appears 
cluttered. 

The  border  shows  far  less  of  change  than  the  field.  In  width  the  increase  is  not  pro¬ 
portionate.  In  fact,  save  for  intensification  of  the  color  and  perceptible  enlargement  of  the 
subordinate  flowers  which  are  grouped  as  supports  about  the  palmettes  and  rosettes,  it  is  the 
identical  border  used  in  No.  1310.  In  the  matter  of  texture  there  is  every  indication  that  this 
rug  and  No.  1310  came  from  the  same  looms,  and  were,  possibly,  woven  under  the  self-same 
supervision.  The  peculiar  quality  of  the  ground  color  of  all  these  sixteenth  century  Ispa- 
hans  is  found  in  few  other  fabrics. 

No.  1314  has  suffered  rather  more  in  the  wear,  although  not  so  old  a  carpet ;  but  it  is  cause 
for  congratulation  that  the  fabric  remains  complete,  for  it  is  a  rare  and  perfect  example  of 
a  class  of  products  which  at  the  present  day  the  cultivated  Persian  counts  among  the  almost 
priceless  possessions. 


1315 — Old  Carpet  of  Khorassan. 

Length,  24  feet  10  inches;  width,  21  feet  4  inches. 

80  hand-tied  knots  (Persian)  to  the  square  inch. 

The  heaviest,  as  well  as  the  largest,  piece  in  the  collection.  It  is  one  of  the  immensely 
stout  fabrics  in  imitation  of  which  a  multitude  of  big  carpets  are  made  in  Northern  Khorassan 
of  late  years.  There  is  more  of  the  misty  sheen  to  the  wool,  which  marks  so  many  of  the 
older  Khorassans,  though  this  effect  may  have  been  present  when  the  carpet  was  less  worn. 
It  has  undergone  more  or  less  injury,  but  has  been  assiduously  darned,  and  is  so  tremen¬ 
dously  strong  that  its  durability  seems  hardly  impaired.  Its  colors  certainly  are  undimmed, 
and  the  design  stands  out  with  undiminished  clearness. 

Strange  as  it  may  seem,  Nos.  1282  and  1284  must  again  be  consulted  to  discover  the 
genesis  of  this  fabric,  which  is  so  unlike  them  in  every  point  of  outward  appearance.  In  the 
field  there  may  be  found,  in  coarsened  form,  and  with  coloring  more  like  that  of  the  standard 
old  Feraghan,  the  same  elements  that  make  up  the  row  patterns  in  the  silk  pieces  referred  to. 


They  retain  almost  their  original  shape,  the  diamond  shape,  with  the  four  curved  leaves 
protruding  from  a  rosette  in  its  centre  holding  a  prominent  place. 

The  huge  rectangular  medallion,  with  pendants,  remotely  resembling  that  in  No.  1305, 
occupies  the  centre.  In  the  pendants,  and  along  the  broad  white  band  defining  the  medal¬ 
lion,  birds  are  woven  like  those  of  Kirman  and  Shiraz.  The  ground  inside  the  medallion  is 
covered  with  the  Herat  design,  almost  in  the  regulation  modern  drawing,  but,  as  is  the 
custom  in  many  Khorassans,  the  space  inside  the  diamond  is  woven  solidly  in  a  russet  red. 
There  is  just  enough  multiplication  of  the  small  border  stripes  to  give  the  Khorassan  look  to 
the  carpet.  The  broad  border  is  quite  convincing  on  the  score  of  origin.  It  is  filled  with 
pear  patterns  set  transversely,  in  each  of  which  is  a  plant  form  with  flowers.  In  every  suc¬ 
cessive  pear  the  plant  undergoes  material  change  in  the  coloring  of  its  parts,  and  the  effect 
is,  to  a  nicety,  that  observed  in  certain  rugs  of  Samarkand  and  Herat,  especially  the  mosque 
prayer  strips,  which  contain  many  devotional  arches,  side  by  side,  to  accommodate  several 
persons  at  simultaneous  worship. 


Grand  Tapestries 


1316  —  Landscape  and  Figures  —  Flemish  Tapestry.  Seventeenth  Century. 

In  the  foreground  of  a  rural  landscape  a  peasant  in  a  crimson  coat  is  shaking  hands  with  a  woman, 
who  is  dressed  in  a  rose-colored  bodice,  and  a  blue  skirt  turned  up  over  a  crimson  petticoat. 
At  the  back,  between  the  two  figures,  stands  another,  wrapped  in  a  blue  mantle. 

Height,  8  feet  5  inches  ;  width,  5  feet  5  inches. 


1317  —  Peasants  Crossing  a  River — Flemish  Tapestry.  Seventeenth  Century. 

On  the  left  of  the  composition  a  man  wades  in  the  water,  bearing  on  his  back  a  woman,  whose 
costume  consists  of  a  yellow  skirt  and  rose-colored  bodice.  To  the  right  a  man  stands  on 
the  bank,  pointing  across  the  stream,  and  by  his  side  is  a  woman  in  white  cap,  with  blue 
dress  looped  up  over  a  rose-colored  petticoat. 

Height,  8  feet  5  inches  ;  width,  5  feet  5  inches. 


1318  —  Peasants  at  their  Dinner  —  Flemish  Tapestry.  Seventeenth  Century. 

Under  a  chestnut  tree,  which  occupies  the  left  of  the  composition,  a  party  of  peasants  sit  at 
dinner,  around  a  small  table.  A  man  on  the  right  of  the  group,  wearing  crimson  breeches, 
turns  toward  the  front,  with  a  glass  raised  in  his  hand.  A  river  extends  across  the  middle 
distance,  on  the  opposite  bank  of  which  is  a  castle,  with  the  view  of  a  small  town  beyond 
and  of  more  distant  mountains.  The  costumes  involve  a  combination  of  rose,  blue,  amber, 
and  white,  while  the  landscape  is  rendered  in  pale  green  and  blue,  drab  and  cream,  the  dark 
blue  leaves  of  the  chestnut  being  sprinkled  with  warm  yellow  lights. 

Height,  9  feet ;  width,  7  feet  10  inches. 


1319  —  La?idscape  and  Country  Inn  —  Flemish  Tapestry.  Seventeenth  Century. 

The  foreground  is  sprinkled  with  flowering  plants,  and  on  each  side  of  it  rises  a  large  tree  with 
handsome  wealth  of  foliage.  Between  them  winds  a  brook,  crossed  by  an  arched  bridge, 
beyond  which  some  sheep  are  feeding;  while  slightly  farther  back  is  a  wayside  inn,  where 
guests,  waited  upon  by  a  woman,  are  feasting  under  a  penthouse  roof.  In  the  distance,  upon 
the  right,  a  chateau  stands  among  trees.  The  whole  is  enclosed  in  a  rich  border  of  fruit  and 
flowers,  with  amorini  in  the  top  corners,  and  pelicans  in  those  below.  The  coloring  is  fresh 
and  spirited,  passing  from  deep  shades  of  blue,  through  lighter  ones  and  russet  tones,  to 
tints  of  warm  cream,  forming  a  notably  harmonious  combination,  with  an  excellent  sugges¬ 
tion  of  atmosphere. 


Height,  xo  feet  5  inches  ;  length,  12  feet  4  inches. 


1320 — Verdure  Panel — Flemish  Tapestry.  Seventeenth  Century. 

The  landscape  slopes  up  from  the  front,  with  an  abundance  of  trees,  among  which,  on  the  left,  is 
a  temple-like  pavilion.  Farther  back,  to  the  right,  stands  a  large  mansion,  built  around 
a  square  courtyard,  in  front  of  which  is  an  entrance  tower,  crowned  with  a  dome,  and  con¬ 
nected  with  the  wings  of  the  house  on  each  side  by  a  curtain  corridor.  The  color  scheme 
is  an  effective  arrangement,  graded  from  deep  indigo  in  the  shaded  parts  to  warm  buffs  in 
the  sunlight. 

Height,  10  feet  7  inches  ;  length,  13  feet  5  inches. 


1321  —  Hunter  Stayed  by  a  Nymph —  Flemish  Tapestry.  Louis  XV.  Period. 

Large  trees  rise  on  each  side  of  the  foreground,  through  the  centre  of  which  flows  a  stony  brook. 
To  the  right  of  it  a  nymph  in  pale  amber  and  creamy  robes  stays  the  advance  of  a  young 
hunter,  whose  crimson  cloak  makes  a  brilliant  contrast  to  the  faint  yellow  and  green  of  the 
hilly  landscape  beyond.  She  leans  forward,  with  one  hand  on  the  youth’s  javelin,  and  the 
other  resting  upon  the  neck  of  his  hound.  The  distant  perspective  is  cunningly  suggested, 
and  the  volume  of  foliage  in  the  foreground  is  boldly  broken  up  into  masses  of  deep  indigo, 
russet  green,  and  golden  yellow. 

Height,  9  feet  2  inches  ;  length,  10  feet  8  inches. 


1322  —  Hunter  and  Stricken  Nymph  —  Flemish  Tapestry.  Louis  XV.  Period. 

Having  a  large-leafed  plant  on  the  right,  and  framed  in  by  trees  with  heavy  masses  of  foliage,  the 
landscape  undulates  in  good  perspective,  a  chateau  showing  among  trees  in  the  middle  dis¬ 
tance.  On  the  right  of  the  composition,  beside  a  tree  trunk,  lies  a  woman  in  white  robe, 
whose  breast  has  been  pierced  with  an  arrow  fired  by  a  hunter.  The  latter,  with  a  crimson 
drapery  floating  from  his  shoulder,  is  bending  forward,  with  bow  extended,  and  accompanied 
by  a  dog.  The  landscape  is  rendered  with  very  pleasing  freedom  and  breadth  of  effect,  the 
foliage  being  especially  effective  in  its  handsome  union  of  indigo  and  warm  gray,  while  the 
ground  is  treated  in  tones  of  cream  and  pale  amber. 

Height,  9  feet  4  inches  ;  length,  10  feet  10  inches. 


1323  —  Ceres  —  French  Tapestry  Panel.  Louis  XV.  Period. 

In  a  beautiful  landscape,  sloping  up  toward  the  left,  the  harvesters  are  at  work  amid  the  yellow 
wheat,  and  in  the  foreground  stands  a  woman  with  a  sheaf  upon  her  head,  while  another 
woman  and  a  man  kneel  upon  the  ground.  Their  eyes  and  hands  are  raised  in  supplication 
to  the  goddess,  who,  in  the  centre  of  the  composition,  is  descending  through  the  air,  a 
glistening  white  robe  floating  round  her  form,  and  a  light  cloud  hovering  over  her  hands,  that 
are  held  in  act  of  dropping  plenty  upon  the  earth.  The  lovely  figure  is  shown  against  the 
dark  olive  foliage  and  tree  stems  of  a  grove,  which  surrounds  a  statue  of  herself.  In  the  left 
of  the  foreground  is  a  golden-brown  chariot,  on  the  floor  of  which  a  figure  in  white  tunic 
embroidered  with  gold,  and  wrapped  about  with  a  scarf,  sets  one  foot.  Its  back  is  toward 
the  spectator,  and  the  gesture  of  the  arms  invites  the  goddess  to  enter  the  chariot. 

Height,  10  feet ;  length,  n  feet  8  inches. 


1324  —  Peasants  and  Hunter  —  French  Tapestry.  Louis  XV.  Period. 

Beside  their  sheep,  on  the  left  of  the  picture,  sit  a  shepherd  in  blue  costume  and  a  shepherdess 
in  white  dress  and  red  bodice.  On  the  right,  with  his  back  to  them,  sits  a  hunter  in  scarlet 
coat,  with  a  gun  in  his  hand  and  a  dog  at  his  feet.  Trees  with  foliage  of  tender  russet  tints 
frame  the  group,  and  almost  unite  over  a  landscape  where  a  stream  winds  between  irregular 
banks,  on  which  are  ruins. 


Height,  8  feet  3  inches  ;  width,  5  feet  6  inches. 


A  Series  of  Renaissance  Tapestries 

Representing  Subjects  from  the  Old  Testament 


This  superb  series,  designed  in  the  Raphaelesque  manner,  as  it  has  been  conjectured,  by  Giulio 
Romano,  was  formerly  in  the  possession  of  Prince  Piombino,  in  Rome. 

All  the  panels  are  characterized  by  a  fine  freedom  and  boldness  of  design  in  the  principal  figures, 
and  by  extreme  richness  of  elaborate  detail  in  the  accessory  parts  of  the  composition.  Throughout,  the 
intricate  color  scheme  is  singularly  choice  and  delicate,  with  a  predominance  of  rose,  amber,  cream, 
and  pale  blue.  The  borders  are  noticeably  handsome,  being  composed  of  passages  of  Renaissance  orna¬ 
ment  of  flowers  and  figures,  interspersed  with  exquisite  little  landscapes  set  in  scroll  frames.  In  each 
of  the  top  corners  is  the  figure  of  a  woman  extending  her  right  hand,  while  below  is  a  subject  medallion 
of  Susannah  and  the  Elders  in  a  garden  laid  out  in  Italian  fashion,  sometimes  with  a  pergola  in  the 
distance.  For,  while  the  general  character  of  the  borders  is  maintained  throughout  the  series,  interest¬ 
ing  diversities  of  detail  are  introduced.  The  ensemble  is  full  of  dignity,  and  overlaid  with  a  charming 
bloom  of  subdued  splendor. 


1325  —  Visit  of  the  Queen  of  Sheba  to  King  Solomon. 

The  queen  kneels  in  the  centre  of  the  garden,  with  her  hands  crossed  upon  her  breast,  her  train  being 
held  up  by  two  kneeling  waiting-maids,  while  three  others  stand  behind  them,  one  bearing 
a  present.  Solomon  bends  forward  to  raise  the  queen,  at  the  same  time  offering  her  his 
sceptre.  On  the  left  and  right  of  the  middle  distance  are  two  compositions,  representing, 
respectively,  Solomon  seated  upon  his  throne,  receiving  his  visitor,  and  the  queen  in  her 
royal  progress,  attended  by  a  retinue  of  courtiers  and  camels.  In  the  centre  of  the  back¬ 
ground  is  an  open  hall,  in  which  a  feast  is  proceeding,  while  on  each  side  is  a  stretch  of 
landscape,  with  a  cavalcade,  and  group  of  figures  welcoming  its  arrival. 

Height,  9  feet  2  inches  ;  length,  io  feet  6  inches. 


1326  —  “  Saul  slew  his  thousands ,  and  David  his  ten  thousands  ” 

The  subject  represents  a  triumphal  procession  of  mounted  warriors  and  footmen,  at  the  head  of 
which  rides  Saul,  while  David  walks  beside  his  charger,  carrying  the  giant’s  head.  In  the 
background  appear  a  hedge  of  spears  and  groups  of  soldiers  in  the  woody  landscape.  On 
the  right  of  the  foreground,  preceding  the  cavalcade,  walks  a  maiden  playing  upon  a  harp. 

Height,  9  feet  2  inches  ;  length,  io  feet  4  inches. 


1327  —  A  Smaller  Panel ,  continuing  the  subject  of  the  previous  composition. 

Two  more  maidens  occupy  the  foreground,  playing  upon  a  viol  or  violin,  while  a  child  dances  in 
front  of  them,  shaking  rings  that  are  hung  with  bells.  Behind  these  figures,  on  the  right,  is 
a  serried  group  of  men  with  lighted  tapers,  and  on  the  opposite  side  crowds  of  horsemen  and 
citizens,  standing  in  welcome  before  the  open  gate  of  the  city. 

Height,  9  feet  2  inches ;  width,  6  feet  n  inches. 


1328 — Old  Testament  Subject  —  Narrow  Upright  Panel. 


Soldiers  carrying  a  relic  covered  with  a  napkin. 


Height,  9  feet ;  width,  3  feet  8  inches. 


1329  —  David  before  Saul. 

The  king  is  seated  under  a  pavilion,  on  the  right  of  the  composition,  attended  by  archers,  and 
before  him  stands  David  the  shepherd  boy,  crook  in  hand,  offering  his  services  to  slay  the 
giant.  In  the  middle  distance,  to  the  left,  and  across  the  background,  appear  troops  of  foot 
soldiers  and  horsemen.  The  foreground  is  sprinkled  with  flowers,  and  small  trees  dot  the 
hillocks  in  the  rear. 

Height,  9  feet ;  width,  8  feet. 


1330  —  David  Playing  before  Saul. 

From  his  throne,  raised  on  a  high  dais  and  backed  by  drapery,  Saul  is  in  the  act  of  flinging  a  spear 
at  David,  who  stands  quietly  playing  upon  his  harp.  An  old  man  intervenes  with  upraised 
hands.  A  soldier  stands  beside  the  youth,  and  three  maidens  are  grouped  in  the  middle 
distance.  In  the  background,  separated  by  trees,  are  two  small  subject  groups  representing 
the  prowess  of  David.  He  is  putting  the  Philistines  to  the  rout  in  one,  and  in  the  other 
returning  to  the  king  with  Goliath’s  sword  in  his  hand. 

Height,  9  feet ;  width,  8  feet  3  inches. 


1331  —  Rare  Cloth-of-gold  Tapestry.  Holy  Family  —  French,  Sixteenth  Century. 

The  Virgin  is  seated  on  a  pavement  of  many  colors,  beneath  a  baldachino  that  is  supported  by  four 
graceful  columns  wreathed  with  incrusted  ornament.  Suspended  from  the  top,  in  front,  is 
a  lambrequin,  decorated  with  cornucopias  and  fruit,  while  the  back  of  the  canopy  terminates 
in  an  arch,  through  which  appears  a  sloping  hill,  dotted  with  trees  and  houses.  The  land¬ 
scape  is  rendered  in  soft  tones  of  blue,  gray,  and  cream,  the  details  being  represented  with 
surpassing  delicacy.  The  Virgin  is  robed  in  deep  blue,  with  a  drapery  of  crimson  falling 
from  her  waist.  The  Infant  upon  her  lap  leans  forward  to  squeeze  a  bunch  of  grapes  into 
a  chalice  held  by  a  woman  who  kneels  upon  the  left.  The  pendant  figure  on  the  right  is 
that  of  a  woman  in  blue  raiment,  who  is  drawing  a  sword  from  its  scabbard.  Behind  the 
group  stand  five  angels  in  garments  of  rose  and  pale  plum  color,  and  in  the  sky  appear  the 
figure  of  the  Almighty,  and  the  Third  Person  of  the  Trinity  in  the  form  of  a  dove.  The 
panel  is  enclosed  at  the  sides  and  base  in  a  narrow  bead  border.  A  beautiful  feeling  of 
reverential  tenderness  pervades  the  skilfully  drawn  figures,  and  the  color  scheme  is  delicately 
resplendent.  The  specimen  is  unique  and  of  surpassing  interest. 

Height,  8  feet  2  inches  ;  width,  7  feet. 


1332 — Grand  Gobelins  Tapestry — Louis  XV.  Period. 

The  episode  depicted  in  this  grand  composition  is  taken  from  Tasso’s  “  La  Gerusalemme  Liberata,” 
canto  iii.,  stanza  xxi.  The  beleaguered  city  appears  in  the  background.  Citizens  and 
soldiers  line  the  roofs  and  balconies  of  the  houses,  and  are  massed  upon  the  top  of  a 
round  donjon,  while  in  the  open  space  before  the  walls,  upon  the  right,  is  a  confused  mass  of 
spearmen,  archers,  and  horsemen  engaged  in  fight.  In  the  foreground  Clorinda  the 
Amazon  leader,  accompanied  by  Argantes,  gallops  full  tilt  at  Tancredi.  She  is  caparisoned 
in  armor  over  a  blue  skirt  embellished  with  gold  brocade,  and  a  drapery  of  delicate  rose 
floats  from  her  shoulders.  The  fastenings  of  her  helmet  have  given  way,  and  her  golden  hair, 


streaming  in  the  wind,  proclaims  her  to  the  astonished  gaze  of  Tancredi  a  beautiful  girl. 
The  knights  wear  crested  helmets  of  Roman  style,  and  tunics  and  mantles,  the  color  of  the 
one  on  the  right  being  blue,  while  that  of  his  antagonist  is  red. 

The  scene  is  rendered  with  magnificent  animation,  the  movement  of  horses  and  riders 
being  full  of  truth  and  spirit,  and  the  color  scheme  at  once  splendid  and  refined.  The  com¬ 
position  is  enclosed  in  a  border  of  corresponding  grandeur.  On  each  side  is  a  console  sup¬ 
porting  the  torso,  in  one  case,  of  a  nude  man ;  in  the  other,  of  a  draped  woman ;  each  bearing 
upon  the  head  a  globe  surmounted  by  two  crowned  eagles.  Along  the  lower  edge  is  a  series 
of  cornucopias,  separated  by  shells,  in  the  middle  one  of  which  is  a  human  face.  The  top 
border  consists  of  festoons  of  flowers,  with  a  cartouche  in  the  centre,  carrying  the  following 
inscription : 

“  E  le  chiome  dorate  al 
Vento  sparse 

Giovane  donna  in  mezzo  di 
Campo  apparse.” 


The  panel  is  a  museum  piece  of  extraordinary  interest. 

From  the  Gobelins’  Manufactory,  dated  1735,  and  signed  by 
the  Duke  of  Hamilton. 


Height,  11 


Nouzon.  Purchased  from  the  collection  of 
feet  8  inches  ;  length,  20  feet  6  inches. 


Set  of  Four  Indo-Portuguese  Embroidered  Tapestries , 

Sixteenth  Century 

Illustrating  Events  Connect ea  with  the  Siege  of  Troy 

1333  —  The  Sacrifice  of  Iphigenia. 

On  the  left  of  the  composition  is  a  large  chest,  or  sarcophagus,  before  which  kneels  Iphigenia,  while 
a  man  bends  over  her  with  uplifted  sword.  Soldiers  are  massed  on  the  right  and  left,  and 
in  the  background  appear  the  Grecian  ships,  waiting  for  a  breeze. 

Height,  12  feet  j  length,  16  feet  8  inches. 


1334  —  Achilles  before  the  Arms  of  Patroclus. 

A  soldier,  in  advance  of  a  group  of  warriors,  on  the  left  of  the  composition,  indicates  with  his  hand 
the  heap  of  armor  and  trappings  which  lie  in  the  centre.  To  the  right  of  it,  attended  by 
two  followers,  stands  Achilles,  with  his  hands  raised  in  a  gesture  of  horror.  A  row  of  tents 
stretches  across  the  background. 

Height,  12  feet ;  length,  16  feet  8  inches. 


1335 — The  Carrying  off  of  Helen. 

On  the  right  of  the  composition  a  ship  filled  with  warriors  has  come  close  up  to  the  shore,  where 
another  party  surrounds  the  central  figure  of  Helen.  Her  gaze  and  hands  are  extended 
toward  heaven,  as  a  man  with  his  arm  around  her  waist  is  lifting  her  to  the  boat,  directed 
in  his  efforts  by  a  man  in  the  foreground.  Behind  the  group  rise  the  houses  of  the  city,  from 
the  roofs  of  which  archers  are  firing. 


Height,  12  feet ;  length,  16  feet. 


1336  —  A  Sacrifice. 

In  attitudes  of  entreaty  warriors  are  kneeling  or  standing  around  a  circular  altar,  which  occupies 
the  centre  of  the  composition.  A  ram’s  head  appears  amid  the  flames,  the  smoke  of  which 
curls  up  to  the  sky.  Across  the  back  of  the  scene  extends  the  sea,  ships  riding  at  anchor  on 
the  right. 

Height,  12  feet ;  length,  16  feet  8  inches. 

The  flesh  parts  throughout  all  the  series  would  appear  to  have  been  painted  by 
Portuguese  artists,  while  the  Oriental  character  of  the  weapons,  costumes,  and  deco¬ 
ration  suggests  that  the  embroideries  were  executed  in  the  East.  The  color  scheme 
carried  through  the  four  panels  is  singularly  choice,  involving  a  groundwork  of  deep 
azure  blue,  with  hues  of  old  rose,  pale  blue,  and  dull  amber  predominating  in  the 
accessories.  The  same  combination  is  introduced  into  the  handsome  borders, 
where,  enclosed  within  a  series  of  narrow  borders,  flows  a  scroll  of  acanthus  with 
floral  centres,  interrupted  at  intervals  by  gryphons,  or  birds  of  paradise.  At  each 
corner  is  a  coat  of  arms,  red  and  white  horizontal  bars  upon  a  shield,  surmounted  by 
a  lion  rampant ;  while  in  the  centre  of  each  side  is  a  medallion  containing  a  human 
figure  with  the  extremities  of  a  serpent,  holding  a  snake  by  the  neck. 


1337  —  Flemish  Tapestry.  Noonday  Meal — Seventeenth  Century. 

Subject  after  Teniers.  In  the  foreground  are  three  peasants  costumed  in  red,  blue,  brown,  and 
yellow.  To  the  right  and  left  are  trees  in  luxuriant  foliage,  and  in  the  middle  distance  is 
a  river,  beyond  which  is  a  village,  and  in  the  background  a  range  of  snow-clad  mountains. 

Height,  8  feet  9  inches  ;  width,  8  feet. 


1338  —  Flemish  Tapestry  Verdure  Panel — Seventeenth  Century. 

A  composition  of  verdure  in  greens  and  blue.  In  the  middle  foreground  is  a  wolf  carrying  off 
a  lamb,  framed  in  a  border  of  flowers  and  fruit,  with  corner  ornaments  of  cranes,  all  in 
harmonious  colors. 


Length,  9  feet  4  inches  ;  width,  4  feet  6  inches. 


Antique  and  Modern  Furniture 


The  Alma-Tadema  Piano, 

Bronzes,  Curtains,  and  Miscellaneous  Objects 


1339  —  Antique  Work-box. 

Adams.  Mahogany  inlaid  with  various  woods.  Painted  ornamentation  of  female  in  chariot,  cupids, 
and  other  designs. 

1340  —  Antique  Chippendale  Table. 

Satinwood.  Oval  shaped,  with  slender  legs,  and  shelf  at  base.  Inlaid  with  various  woods,  and 
has  painted  decoration. 

1341 — Antique  Oval  Table. 

Mahogany.  Similar  in  design  to  the  preceding. 

1342  —  Chippendale  Escritoire. 

Satinwood.  Adams  painted  decoration  of  flowers  and  figurers  en  camaieux,  having  an  arched 
recess  with  mirror,  two  enclosures,  and  several  small  drawers. 

1343 — Chippendale  Escritoire. 

Satinwood.  To  match  the  preceding. 


1344 — Chippendale  Centre  Table. 


Mahogany.  Round  shaped,  on  slender,  fluted  legs.  Inlaid  with  various  woods,  and  ornamented 
with  painted  ribbon  and  floral  festoons  in  Adams  style. 


1345  —  Adams  Gem  Cabinet. 


Satinwood.  Painted  decoration  of  flowers.  Plush  lined. 


1346 — Gueridon  and  Card  Tray. 

Bronze,  with  Chinese  porcelain,  a  famille-rose  basin  and  baluster-shape  vase,  and  an  octagonal 
bottle  of  famille  verle. 


1347  — Antique  Ivory  Cabinet. 

Engraved  in  niello,  with  figures  and  grotesques.  Decorated  within  with  plaques  in  silver  gilt,  with 
figures  in  relief  of  Ceres,  Bacchus,  and  Venus,  elaborately  framed  in  carved  steel ;  with 
modern  table  in  ebony  and  carved  boxwood,  in  classic  style. 


1348 —  Oriental  Taboret. 

Octagonal.  Rosewood.  Inlaid  with  mother-of-pearl. 

1349 —  Oriental  Taboret. 

Octagonal.  Completely  covered  with  mother-of-pearl. 

1350 —  Two  High-backed  Chairs. 

Italian.  Inlaid  with  metal,  ivory,  and  tinted  woods. 


1351 — Two  Large  Antique  Armchairs. 

Oak.  Elaborately  carved. 


1352  —  Antique  Etagere. 

French.  Sixteenth  century, 
with  slight  gilding. 


Artistically  carved  relief  figures,  foliated  scrolls,  and  other  designs, 

Height,  8  feet  ;  width,  4  feet. 


1353 — Old  Moorish  Cabinet. 

Walnut.  Elaborately  inlaid  with  mother-of-pearl  and  tortoise  shell. 

Height,  3  feet ;  length,  3  feet  6  inches. 


1354 — Old  Italian  Cassone. 

Carved  and  gilt  wood,  in  sarcophagus  form,  with  a  frieze  of  cupids  with  a  shield  armorial  in  high 
relief;  winged  figures  at  the  corners,  and  a  base  of  masks  and  festoons. 

Height,  2  feet  1  inch  ;  length,  5  feet  8  inches. 


1355 — Old  Italian  Cassone. 


Decorated  in  gesso  and  stamped,  gilt,  and  painted  leather.  Paintings  of  centaurs,  a  shield 
armorial,  and  the  lion  of  St.  Mark’s. 


Height,  3  feet  7  inches  ;  length,  6  feet  8  inches. 


1356  —  Elaborately  Painted  Old  Italian  Cassone ,  or  Wedding  Chest. 

Carved  and  gilt  wood,  with  a  picture  in  colors  and  gilding,  of  a  tournament  outside  a  walled  city ; 
a  harbor  and  ships  in  the  distance. 

Height,  3  feet  8  inches  ;  length,  8  feet. 


1357  —  Elaborately  Carved  Old  English  Hall  Table. 

On  a  heavy  carved  base,  supporting  an  arcade  with  twisted  columns,  except  those  at  the  corners, 
which  are  in  shape  of  urns  surmounted  by  masks  of  giants.  The  top  has  a  broad  border, 
with  carving  of  fleurons  and  animals  in  circles. 

Height,  3  feet  6  inches  ;  length,  7  feet ;  width,  3  feet  6  inches. 


1358  —  Two  Large  Old  English  Hall  Armchairs . 

With  backs  carved  in  high  relief,  top  ornaments  of  cherubs  and  coat  of  arms,  the  arms  terminating 
in  animal  heads.  Seats  upholstered  in  velvet  and  cloth-of-gold  brocade. 

1359  —  Two  Old  English  High-backed  Hall  Chairs. 

Elaborately  carved.  Seats  upholstered  in  velvet  and  cloth-of-gold  brocade. 

1360  —  Four  Old  English  High-backed  Chairs. 

Carved  in  high  relief. 

1361  —  Carved  Oak  Hall  Seat. 

In  form  of  three  antique  choir  stalls,  time  of  Louis  XV. 

Height,  4  feet ;  length,  7  feet  7  inches. 


1362  —  Old  Venetian  Stamped  Leather — Fifteenth  Century. 

From  Pieve  di  Cadore.  The  design  is  floral  scrolls  in  red,  silver,  and  blue  on  a  gold  ground. 


1363  —Grand  Piano. 

DESIGNED  BY  SIR  ALMA-TADEMA,  R.A.,  WITH  PAINTED  PANEL  BY  SIR 
EDWARD  J.  POYNTER,  P.R.A. 

In  many  respects  this  piano  presents  one  of  the  most  extraordinary  examples  of  artistic 
craftsmanship  that  have  been  produced  in  modern  times.  It  recalls  the  splendid  invention, 
the  graceful,  luxurious  imaginativeness  that  distinguished  the  work  of  the  Graeco-Roman  artists 
who  ministered  to  the  fastidious  taste  of  the  most  cultivated  citizens  of  Pompeii.  Sir  Alma- 
Tadema,  everywhere  acknowledged  among  moderns  as  the  artist  par  excellence  who  can  re¬ 
incarnate  the  genius  as  well  as  the  externals  of  the  later  classic  period,  given  carle  blanche,  has 
accomplished  in  this  object  a  result  that  is  as  remarkable  for  the  exquisite  refinement  of  its 
ensemble  as  for  the  elaborate  inventiveness  of  its  detail. 


A  WElson  4  Cc,B 


The  framework  of  the  piano  is  of  ebony,  with  inlays  of  red  cedar,  the  latter  serving  as 
a  field  for  decoration  in  ivory,  mother-of-pearl,  and  shells.  The  cover  is  embellished  with 
the  names  of  the  nine  Muses,  each  enclosed  within  a  wreath,  while  that  of  Apollo  is  given 
distinction  by  additional  elaboration  of  the  wreath  and  ribbons.  The  body  of  the  piano  is 
decorated  at  the  back  and  at  the  ends  on  each  side  of  the  keyboard  with  scrolls.  These  are 
a  free  adaptation  of  the  acanthus  motive,  executed  in  boxwood  and  ivory,  in  bold  relief,  and 
with  exquisite  variety  of  raised  and  channelled  surface,  terminating  in  a  tendril  of  ivory. 
In  the  centre  of  each  side  is  a  small  design  of  a  myrtle  wreath,  wrought  in  ivory,  with 
berries  of  coral  and  shell,  enclosing  a  tripod  altar,  above  which  is  a  spray  of  laurel,  executed 
in  pieces  of  semi-precious  stones.  It  is  a  little  gem  of  craftsmanship  in  the  exquisite  art  of 
pietra  dura. 

The  front  legs,  viewed  in  profile,  are  broad  and  massive,  exhibiting  a  winged  lion  beauti¬ 
fully  carved,  with  bold  scrolls  of  ivory  filling  in  the  spaces.  The  rear  support  is  a  pedestal 
with  stylobate  and  base,  and  a  square  die,  upon  which  is  an  incrusted  decoration  of  a  myr¬ 
tle  branch,  carved  in  ivory,  with  berries  of  red  coral. 

Above  the  keyboard  is  a  rectangular  panel,  painted  by  Sir  Edward  Poynter,  “  The  Wan¬ 
dering  Minstrels.”  It  represents  a  scene  upon  the  margin  of  the  sea,  with  a  group  of  six 
girls  dancing  in  a  ring  in  the  centre.  To  the  right  and  left  are  vine-covered  pergolas,  in 
one  of  which  are  three  musicians,  and  in  the  other  a  lady  and  gentleman  seated  on  a  bench, 
with  another  figure  standing  behind,  resting  his  head  upon  his  hand.  The  figures  are  drawn 
with  the  delicacy  of  feeling  and  grace  of  gesture  that  distinguish  the  painter’s  work,  and  the 
coloring  is  brilliant,  and  at  the  same  time  pure  and  transparent.  In  two  small  panels,  one  at 
each  end  of  the  lid,  is  a  trophy  of  musical  instruments,  executed  by  the  famous  artist. 

The  case  of  the  piano  was  made  by  Johnson  Norman,  London,  the  instrument  being  the 
work  of  Steinway  &  Sons. 

Sir  Edward  J.  Poynter,  President  of  the  Royal  Academy,  in  a  letter  to  Mr.  Marquand, 
thus  alludes  to  the  instrument : 

“I  have  no  hesitation  in  saying  that  it  is  the  most  beautiful  piece  of  work,  both 
for  the  design  and  the  workmanship,  that  I  ever  saw.  In  fact,  I  do  not  believe  that 
anything  has  ever  been  done  equal  to  it." 


1364 —A  Suite  of  Furniture . 

DESIGNED  BY  SIR  ALMA-TADEMA,  R.A. 

This  superb  suite,  designed,  in  accompaniment  with  the  grand  piano,  to  furnish  the  music-room,  is 
of  the  Grseco-Roman  style,  as  manifested  in  the  chasteness  of  design  and  luxuriance  of  deco¬ 
ration  of  the  best  Pompeiian  manner.  It  is  one  that  the  artist  has  made  uniquely  his  own, 
contriving  to  recover  not  only  the  form,  but  the  spirit,  of  the  antique  beauty.  In  every  case 
the  form  is  of  marked  simplicity,  and  of  a  reasonableness  that  fits  the  purpose  of  the  object; 
and  the  decoration  is  distinguished  by  luxuriance  of  invention  rather  than  of  amount,  and  by 
an  invention  that  embraces  the  most  subtle  delicacy  as  well  as  a  virile  boldness  in  the  salient 
parts  of  the  structural  design.  Thus  the  main  contours  are  firmly  emphasized  by  broad  inlays 
of  ivory,  while  projecting  portions,  most  liable  to  injury,  are  carved  from  the  solid  ebony  in 
massive  richness.  Not  less  remarkable  than  the  logic  and  beauty  of  the  design  is  the  skill 
with  which  the  work  has  been  executed.  The  artist  has  been  able  to  infuse  the  craftsmen 
with  the  spirit  of  his  purpose,  and  the  result  is  that  quality,  very  rare  in  modem  craftsman¬ 
ship,  of  vital,  personal  feeling.  It  would  be  hard  to  praise  too  highly  this  consummate  union 


of  handiwork  and  imagination.  The  objects  are  upholstered  in  silk  of  an  ashen  olive  hue, 
embroidered  with  panels,  either  of  floral  scrolls  or  of  the  Greek  wave  design,  contained 
within  narrow  borders  of  repeated  circles. 


—  Two  Armchairs. 

Their  framework  is  of  ebony,  the  front  legs  being  carved  in  a  bold  design,  commencing  with  the 
head  and  neck  of  a  swan,  and  terminating  in  lion’s  claws.  In  the  place  of  back  legs  is  a 
broad  support,  inlaid  with  a  panel  of  red  cedar,  on  which  is  a  relief  ornament  of  the  honey¬ 
suckle  design.  The  back  is  of  similar  wood,  bearing  an  incrusted  decoration  of  scrollwork, 
corresponding  in  character  to  that  of  the  piano,  but  exceeding  it  in  the  elaboration  of  the 
inlays  of  mother-of-pearl  and  shells. 


—  Two  Long  Settees. 

They  are  oblong  in  plan,  with  straight  backs,  the  elaborateness  of  decoration  being  reserved  for  the 
ends.  These  continue  for  a  short  distance  the  horizontal  line  of  the  back,  and  then  descend 
in  a  bold  curve  till  they  reach  the  level  of  the  seat,  where  another  horizontal  line  connects 
with  the  massive  modelling  of  the  front  legs.  The  profile  of  the  back  is  vertical,  terminating 
in  claw  legs.  The  contour  of  ebony  is  accentuated  by  broad  insets  of  raised  ivory,  and  the 
panels  of  cedar  are  decorated  with  delicate  inlays  of  Greek  fret  and  other  designs. 


—  Occasional  Chairs. 

The  slender  legs  are  constructed,  like  the  frame,  of  ebony,  interrupted  at  three  points  by  rings  of 
solid  ivory,  while  a  thread  pattern  of  the  same  material  is  inserted  on  the  small  rectangular 
facings  near  the  top.  The  backs  are  of  red  cedar  with  rectangular  bands  of  inlay,  enclosing 
an  ivory  laurel  wreath,  within  which  is  the  monogram,  “  H.  G.  M.” 


—  Two  Smaller  Settees. 

These  have  curved  backs,  terminating  at  the  ends  in  slender  columns.  Below  the  latter  the  design 
projects  in  curves  to  the  level  of  the  seat,  the  ebony  frame  enclosing  a  ground  of  cedar,  on 
which  is  an  incrusted  scroll,  surmounting  a  band  of  fret.  The  front  legs  are  of  ebony, 
carved  with  a  swan’s  head  and  neck,  and  terminating  in  a  claw. 


—  Two  Ottomans. 

These  are  almost  square  in  plan.  Their  slender  legs  of  ebony,  ringed  and  fluted  with  ivory,  sup¬ 
port  four  oblong  panels  of  cedar,  on  two  of  which  is  an  elaborate  design  of  birds  and  scrolls, 
executed  in  ebony,  ivory,  and  chestnut. 


—  Two  Circular  Top  Tables. 

The  circular  top,  consisting  of  a  single  slab  of  onyx,  rests  on  a  tripod  of  black  ebony,  the  three 
legs  being  united  by  two  series  of  horizontal  ties.  The  upper  ones  are  narrow,  and  inlaid 
with  an  ivory  thread  design  of  repeated  arches,  while  the  lower  are  more  substantial,  and 
decorated  with  an  interlace. 


13  53  A-W  Elson  4  Ca.Boston 


1365 — Two  Piano  Stools. 

The  cushions,  almost  square,  rest  upon  a  slab  of  ivory,  which,  by  disks  of  the  same  material,  is 
separated  at  each  corner  from  the  wooden  frame.  The  latter  is  panelled  with  cedar,  deco¬ 
rated  with  scrolls  of  ivory,  ebony,  and  shells,  and  having  on  two  sides  a  round  ivory  handle 
enclosing  a  little  medallion  of  carved  cedar.  The  four  legs  are  of  baluster  form,  in  ebony, 
with  delicate  inlays  of  mother-of-pearl  and  ivory,  and  the  latter  material,  boldly  carved,  has 
been  used  for  the  feet. 


1366  —  Elaborate  Music  Cabinet. 


Designed  to  match  the  Alma-Tadema  suite  of  furniture, 
lished  with  embroidered  classic  designs. 


Has  curtains  of 


green  silk  rep,  embel- 


Height,  6  feet  6  inches  ; 


length,  7  feet  g  inches. 


1367  —  Corner  Cabinet. 

Of  classic  design  in  ebony  and  inlaid  woods,  with  ornamentation  in  carved  ivory.  To  match  the 
Alma-Tadema  suite  of  furniture  above  described. 

Height,  6  feet  io  inches  ;  width,  2  feet  3  inches. 


1368  —  Corner  Cabinet. 

Of  classic  design.  Similar  to  the  preceding. 


Height,  6  feet  6  inches  ;  width,  2  feet. 


1369  —  Pair  Door  Curtains. 

Designed  by  Sir  Alma-Tadema, 
patterns  in  needlework. 


The  material  is  sage-green  silk  rep,  with  embellishment  of  classic 
Each  strip:  Length,  7  feet  7  inches  ;  width,  3  feet  11  inches. 


1370  —  Pair  Door  Curtains. 

Designed  by  Sir  Alma-Tadema.  To  match  the  preceding. 


1371 —  Pair  Door  Curtains. 

Designed  by  Sir  Alma-Tadema.  To  match  the  preceding. 

Each  strip:  Length,  9  feet  6  inches  ;  width,  3  feet  6  inches. 

1372  —  Window  Curtains. 

For  two  windows.  Designed  by  Sir  Alma-Tadema,  and  to  match  the  preceding. 

Each  stnp;  Length,  9  feet  6  inches  ;  width,  3  feet  6  inches. 

1373 — Lace  Window  Curtains. 

For  two  windows.  Designed  by  Sir  Alma-Tadema.  Masks  and  palmettes  and  other  classic  patterns 
in  applique  and  openwork.  Eacjj  str;p.  Length,  9  feet  5  inches;  width,  2  feet  7  inches. 


1374  —  Pair  Tall  Standing  Lamps. 

Antique  design,  in  bronze,  with  opalescent  glass  shade.  Arranged  for  gas. 


Height,  77  inches. 


1375  —  Elaborate  Ornamental  Bronze  Fender. 

Especially  designed  by  Sir  Alma-Tadema,  and  modelled  by  E.  Onslow  Ford,  A.R.A.  Masks  of 
Comedy  and  Tragedy  at  the  corners,  supported  by  genii  with  lyre  and  cymbals.  Richly 
foliated  scrolls,  with  flowers  and  tendrils  in  wrought  metal,  terminating  behind  a  large  shell 
in  the  centre. 

Length,  58  inches. 


1376  —  Pair  Bronze  Andirons. 

By  E.  Onslow  Ford,  A.R.A.  Terminal  figures  in  archaistic  Greek  style,  reproduced  from  an¬ 
tiques  in  the  British  Museum,  known  as  the  “  Merry  and  Sad  Flutes.” 

Height,  30  inches. 


1377  —  African  Lion  Skin. 

Mounted  as  a  rug. 


Length,  10  feet  4  inches. 


1378  —  Royal  Bengal  Tiger  Skin. 

Mounted  as  a  rug. 


Length,  n  feet  7  inches. 


1379  —  Royal  Bengal  Tiger  Skin. 

Mounted  as  a  rug. 


Length,  9  feet  7  inches. 


1380  —  Portiere. 


Japanese  silk  brocade.  Brown  ground,  with  geometrical  and  floral  patterns  in  low  tones  of  gray, 
old  gold,  and  sage  green.  Trimmed  with  fringe  and  lined  with  silk. 

Height,  8  feet ;  width,  3  feet  10  inches. 


1381  —  Portiere. 


Japanese  silk  brocade.  Old  golden  brown,  with  medallions  and  crest  designs  in  dark  blue  and  old 
gold.  Trimmed  with  heavy  fringe. 


Height,  8  feet  ;  width,  3  feet  10  inches. 


1382  — Sofa  and  Pillows. 

Upholstered  in  Turkish  needlework,  with  heavy  silk  fringe. 


1383  —  Low  Cushioned  Chair. 

Upholstered  in  Turkish  needlework. 


1384 — Oblong  Satinwood  Table. 

Oriental  design.  Inlaid  with  brass,  mother-of-pearl,  and  various  woods. 


1385  —  Satinwood  Reception  Chair. 

Oriental  design.  To  match  the  preceding. 


1386  —  Adams  Drop-leaf  Table. 

Mahogany.  Painted  decoration  of  fruits  in  large  oval  panel  on  the  top,  with  borders  of  floral  and 
ribbon  festoons. 


1387  —  Mantle  Clock  —  Louis  XVI. 

Gray  marble  base.  Mountings  and  ornaments  in  chiselled  ormolu.  Wreath  of  oak  leaves  and 
mask  surround  the  dial,  which  is  decorated  with  floral  festoons. 


1388  —  Boudoir  Clock. 


Dresden  porcelain  case,  with  group  of  Arts  and  Science.  Movement  by  Worms,  of  Paris. 


1389  —  Pair  Dresden  Candelabra. 

Figure  supports  and  raised  flowers. 


1390  —  Pair  Old  Hochst  Vases „ 

Cylindrical  shaped,  with  conical  base.  Decorated  with  medallion  portrait  of  Louis  Philippe  and 
Consort,  and  festoons  modelled  in  relief. 


1391  —  Pair  Urn-shaped  Andirons . 
In  antique  brass. 


1392  —  Bronze  Fender. 

Figures  of  two  children,  wrought  in  relief. 


1393  —  Pair  Royal  Brass  Andirons  —  Charles  I.  Period. 

Urn  shape,  with  masks  at  base  and  female  figures  at  sides.  Wrought  in  openwork  and  chiselled. 

Height,  30  inches. 


1394  —  Antique  Fire  Set. 

In  wrought  brass. 


1395  —  Pair  Fire  Dogs. 

In  chiselled  brass.  Said  to  have  belonged  to  Queen  Elizabeth, 
crown  on  the  base. 


Have  the  initials  “E.  R.”  and 
Height,  36  inches. 


1396  — Pair  Elaborate  Bronze  Andirons. 

Representing  fawns  seated,  and  bearing  on  their  heads  vases  with  serpent  handles,  from  which  arise 
flames.  The  elaborately  wrought  bases  are  decorated  with  lions’  heads,  scrolls,  and  foliage. 

Height,  inches. 

1397  —  Grand  Wrought-steel  Fire  Set. 

Consisting  of  fire  dogs,  brazier,  cranes,  chains,  fender,  elaborate  wood  basket,  and  set  of  fire  tools. 

Length  of  fender,  59  inches. 


1398 — Wrought-steel  Fire  Set. 


Consisting  of  fire  dogs  and  fender,  ornamented  with  open  spirals,  foliage,  and  rosettes,  and  set  of 
fire  tools. 


Length  of  fender,  68  inches. 


1399 — Gem  Cabinet. 

In  carved  oak.  Plush  lined.  Open  shelf  at  bottom. 


1400  —  Carved  Oak  Cabinet. 

Low  oblong  shaped.  Glass  doors,  sides,  and  top.  Lined  with  plush. 

Height,  3  feet ;  length,  4  feet ;  depth,  2  feet. 

1401  —  Carved  Oak  Cabinet. 

To  match  the  preceding. 


1402  —  Corner  Cabinet. 

Carved  oak.  With  bent  glass  door. 

1403  —  Corner  Cabinet. 

To  match  the  preceding. 


Height,  4  feet ;  width,  2  feet  6  inches. 


1404  —  Standing  Cabinet  for  Lacquers. 

Mahogany.  Carved  in  Japanese  style. 

Height,  3  feet  6  inches  ;  length,  4  feet ;  width,  1  foot  9  inches. 


1405  —  Elaborate  Standing  Screen . 

In  carved  quartered  oak. 


Engravings 


In  Mezzotinto ,  Stipple  and  Line,  and  Etchings 


NOTE 

In  the  field  of  Engraving  and  Etching  Mr.  Marquand’s  preference — so  far  as  it  can  be  read  in 
the  specimens  selected  by  him — was  for  prints  possessing  marked  pictorial  and  aesthetic  beauty  rather 
than  technical  excellence  only.  Naturally  the  magnificent  mezzotints  by  the  great  English  engravers 
— Dean,  Dickinson,  Green,  MacArdell,  James  and  Thomas  Watson,  and  others — after  paintings 
by  Sir  Joshua  Reynolds,  attracted  his  attention  and,  characteristically,  the  examples  he  acquired  were 
of  great  beauty  and  of  unusually  fine  quality. 

His  interest  in  the  movement  which,  originating  with  Mason,  Walker,  and  Pinwell,  might 
have  been,  but  for  the  untimely  death  of  these  artists,  of  hardly  less  influence  on  art  in  England  than 
was  the  pre-Raphaelite  movement  of  a  generation  earlier,  is  sufficiently  attested  by  the  inclusion  in 
his  collection  of  several  of  the  masterly  etched  transcriptions  by  Macbeth,  of  important  works  by 
Walker  and  Mason.  .  .  .  Nor  were  the  “Old  Masters”  forgotten;  as  the  etchings  after  master¬ 
pieces  by  Velasquez,  Rembrandt,  and  Van  Dyck  prove  ;  while  among  painter-etchers  Rembrandt, 
Whistler,  Tissot,  and  Zorn  were  represented  by  a  few  fine  examples. 


LIST  OF  ENGRAVERS  AND  ETCHERS 


MEZZOTINTO  ENGRAVERS 


NUMBER. 

NUMBER. 

APPLETON,  THOMAS  G. 

1407,  1408 

REYNOLDS,  SAMUEL  WILLIAM  1426 

COUSINS,  SAMUEL 

1409,  1410 

SHORT,  FRANK 

1427 

DEAN,  JOHN 

1411 

SMITH,  JOHN  RAPHAEL 

1428-1430 

DICKINSON,  WILLIAM 

1412-1417 

TURNER,  CHARLES 

1431 

DIXON,  JOHN 

1418 

WARD,  JAMES 

1432 

GREEN,  VALENTINE 

1419,  1420 

WATSON,  JAMES 

1433-1437 

HODGES,  CHARLES  HOWARD  1421 

WATSON,  THOMAS 

1438 

MacARDELL,  JAMES 

1422-1425 

ENGRAVERS 

IN  STIPPLE 

BARTOLOZZI,  FRANCESCO 

1439,  1440 

TOMKINS,  PELTRO  WILLIAM  1443 

BURKE,  THOMAS 

1442 

WATSON,  CAROLINE 

1444 

EARLOM,  RICHARD 

1441 

LINE  ENGRAVERS 

ANNEDOUCHE,  ALFRED 

1445 

FOLO,  PIETRO 

1447 

BURGER,  JOHANNES 

1446 

LEVY,  GUSTAVE 

1448 

ETCHERS 

ARAUJO,  JOAQUIN 

1449 

RAEBURN,  H.  MACBETH 

1472 

HADEN,  SIR  F.  SEYMOUR 

1450,  1451 

RAJON,  PAUL 

1473-1478 

HERKOMER,  HUBERT 

1451a 

REMBRANDT  VAN  RYN 

1479-1489 

HOLE,  WILLIAM 

1451b 

ROSENTHAL,  ALBERT 

1490,  1491 

JASINSKI,  FELIX 

1452-1455 

SHORT,  FRANK 

1492 

KRATKE,  LOUIS 

1456 

SLOCOMBE,  C.  P. 

1493,  1493a 

LAGUILLERMIE,  FREDERIC- 

SMILLIE,  JAMES  D. 

1494 

AUGUSTE  1457 

TISSOT,  JAMES  J. 

1495,  1496 

LEFORT,  HENRI 

1458,  1459 

WALTNER,  CHARLES 

1497-1499 

LHUILLIER,  VICTOR-GUSTAVE  1460 

WHISTLER,  JAMES  A.  McN. 

1500,  1501 

MACBETH,  ROBERT  W. 

1461-1471 

ZORN,  ANDERS  L. 

1502 

1415  1420 


1428 


SECOND  EVENING'S  SALE 
Wednesday,  January  28th,  1903 

BEGINNING  PROMPTLY  AT  8  O’CLOCK 


Mezzotinto  Engravings 

APPLETON,  THOMAS  G. 

1407  —  Elizabeth,  Countess  of  Mex borough. 

After  the  painting  by  John  Hoppner.  Signed  artist’s  proof.  Gold  frame. 

Daughter  of  John  Stephenson,  Esq.,  of  East  Burnham,  Co.  Bucks  ;  married, 
1782,  John,  2nd  Earl  of  Mexborough  ;  died,  June  7,  1821,  in  Piccadilly,  after  a  few 
hours’  illness. 

1408  —  Countess  of  Mansfield. 

After  the  painting  by  George  Romney.  Signed  artist’s  proof.  Gold  frame. 


COUSINS,  SAMUEL 

Born  in  Exeter  in  1801;  died  in  London,  May  7,  1887.  Pupil  of  S.  W.  Reynolds. 

1409  —  Penelope  Boothby. 

After  the  painting  by  Sir  Joshua  Reynolds.  Proof,  with  the  title  in  scratched  letters, 
on  India  paper.  Scratched  on  plate  in  lower  right-hand  corner,  “First  100.” 
Bird’s-eye  maple  and  gold  frame. 

“On  the  beautiful  monument  by  Banks,  in  Ashbourne  Church,  at  sight  of  which 
Queen  Charlotte  burst  into  tears,  is  inscribed  : 

“‘To  Penelope,  only  child  of  Sir  Brooke  and  Dame  Susannah  Boothby;  born, 
April  11,  1785  ;  died,  March  13,  1791.  She  was  in  form  and  intellect  most  exquisite. 
The  unfortunate  parents  ventured  their  all  on  this  frail  bark,  and  the  wreck  was 
total.” — Chaloner  Smith,  page  957. 


/ 


1410  —  Moretta :  A  Venetian  Girl. 

After  the  painting  by  Sir  Frederick  Leighton,  P.R.A.  Proof  signed  by  painter  and 
engraver.  Black  and  gold  frame.  The  number  of  signed  artist’s  proofs  was 
limited  to  375. 


DEAN,  JOHN 


Born  about  1750.  Is  said  to  have  been  a  pupil  of  Valentine  Green,  and  to  have  died 
in  London  in  1798. 

“The  character  of  his  work  is  delicacy  ol  execution,  carried  to  such  an  extent 
that,  to  a  superficial  observer,  his  prints  seem  faint.  They  are,  however,  most  clear 
and  artistic." — Chaloner  Smith,  page  159. 


1411  —  Mary,  Lady  Cadogan. 

After  the  painting  by  Sir  Joshua  Reynolds.  C.  S.  No.  3,  page  160. 

Second  state ,  with  the  inscription. 

Margins  are:  at  top,  1  5  at  bottom,  1^;  at  sides,  1  ^  inches.  Very  fine 

impression,  in  perfect  condition.  Gold  frame. 

Eldest  daughter  of  Charles  Churchill,  Esq.,  by  Mary,  daughter  of  Sir  Robert 
Walpole  ;  married,  August  10,  1777,  Charles  Sloane,  3rd  Baron  Cadogan,  which 
marriage  was  dissolved  by  Act  of  Parliament,  April,  1797. 


DICKINSON,  WILLIAM 

Born  in  London  in  1746.  In  1773  he  commenced  to  publish  his  own  works  from 
Litchfield  Street,  Soho,  afterwards  180  Strand,  and  between  1774  and  1778 
from  Henrietta  Street,  Covent  Garden,  many  of  his  productions  then  being 
among  the  most  brilliant  specimens  of  the  art — powerful,  full  of  color, 
excellent  in  drawing,  and  rendering  the  touches  of  the  painters,  among  whom 
were  Reynolds,  Romney,  and  Peters.  Died  at  Paris  in  the  summer  of  1823. 


1412  —  Diana,  Lady  Crosbie. 

After  the  painting  by  Sir  Joshua  Reynolds.  C.  S.  No.  14,  page  176. 

Second  state ,  with  the  inscription. 

Margins  are:  at  top,  bottom,  and  sides,  *4  inch  outside  plate  mark.  Good  impres¬ 
sion,  in  excellent  condition.  Gold  frame. 

Daughter  of  Lord  George  Sackville  ;  born,  1756  ;  married,  1777,  Viscount 
Crosbie,  who  succeeded  in  1781  to  Earldom  of  Glandore  ;  died  at  Ardfert  Abbey, 
August  29,  1814.  Her  daughter  married  Mr.  Herbert,  of  Mucross. 


1413 — •  Emilia ,  Duchess  of  Leinster. 

After  the  painting  by  Sir  Joshua  Reynolds.  C.  S.  No.  43,  page  186. 

First  state ,  before  the  name  of  the  personage  and  before  the  lower  margin  was 
perfectly  cleaned. 

Margins  are :  at  top  and  sides,  1  ^ ;  at  bottom,  4  inches.  From  the  collection  of 
the  Duke  of  Buccleuch.  Brilliant  impression,  in  excellent  condition.  Gold 
frame. 

Only  daughter  of  Ussher,  Lord  St.  George  ;  married,  1775,  William,  2nd  Duke  of 
Leinster;  died,  June  23,  1798. 


1414  —  Li  chard.  Oliver. 

After  the  painting  by  Robert  Pine.  C.  S.  No.  55,  page  190. 

Second,  state ,  with  the  inscription. 

Margins  are:  at  top,  ^  inch;  at  bottom,  i5^  inches;  at  sides,  ^  inch.  Good 
impression,  in  good  condition.  Oak  frame. 

Elected  member  of  Parliament  in  1770.  In  the  following  year  was  for  a  short 
time  imprisoned  in  the  Tower.  In  his  contest  with  the  Parliament,  a  transaction 
which  Walpole  says  “began  unadvisedly  and  ended  piteously,”  the  Court  of 
Exchequer  deciding  that  the  imprisonment  was  not  illegal,  Mr.  Oliver  refused  to 
take  advantage  of  some  blunders  in  the  returns,  and  declined  to  be  released,  except 
on  general  and  public  grounds.  He  died  on  board  the  Sandwich  packet,  in  his  pas¬ 
sage  from  Nevis,  April  16,  1784. 


1415  —  Lady  Charles  Spencer. 

After  the  painting  by  Sir  Joshua  Reynolds.  C.  S.  No.  77,  page  198. 

Second  state ,  with  the  inscription. 

Margins  are :  at  top,  1 ;  at  bottom,  2 ;  at  sides,  1 inches.  Brilliant,  rich,  and 
velvety  impression,  in  perfect  condition.  Gold  frame. 

Maria,  daughter  of  Lord  Vere,  of  Hanworth  ;  born,  1743  ;  married,  October 
2,  1762,  Lord  Charles  Spencer,  2nd  son  of  Charles,  2nd  Duke  of  Marlborough  ;  died, 
January  13,  1812. 

1416  —  Richard,  Earl  Temple. 

After  the  painting  by  Sir  Joshua  Reynolds.  C.  S.  No.  82,  page  199. 

First  state ,  before  the  inscription.  Names  of  painter  and  engraver,  and  publication 
line  in  scratched  letters. 

Margins  are :  at  top,  bottom,  and  sides,  yi  inch.  Brilliant  impression,  in  excellent 
condition.  Oak  frame. 

Born,  1711  ;  succeeded  his  mother,  Countess  Temple,  1752  ;  K.  G.,  privy  coun¬ 
cillor;  died,  September  n,  1779,  and  was  succeeded  by  his  nephew,  whose  son  was 
created  Duke  of  Buckingham  and  Chandos. 


1417  —  Richard,  Earl  Temple. 

After  the  painting  by  Sir  Joshua  Reynolds.  C.  S.  No.  82. 

First  state. 

Margins  are:  at  top  and  sides,  ;  at  bottom,  inch.  Brilliant  impression,  in 
excellent  condition.  Oak  frame. 


DIXON,  JOHN 


Born  in  Ireland  about  1740.  Removed  to  London  about  1765,  and  soon  distin¬ 
guished  himself  by  his  Portrait  of  Garrick,  after  Dance,  and  other  works. 
He  married  a  young  lady  of  fortune,  and  thenceforward  followed  his  profession 
as  an  amusement  only,  residing  at  Ranelagh,  afterwards  at  Kensington,  where 
he  died  about  1780. 

“His  works  are  powerful,  well  drawn,  and  rich  in  tone.” — Chaloner  Smith , 
page  203. 


1418 — William ,  Duke  of  Leinster. 

After  the  painting  by  Sir  Joshua  Reynolds.  C.  S.  No.  22,  page  212. 

Very  early  state ,  undescribed  by  Chaloner  Smith.  The  name  of  the  engraver  is  absent. 

The  words,  “Painted  by  Sr.  Josa  Reyn  ’’and  the  publication  line 
alone  are  visible,  and  the  bottom  of  the  plate  is  not  yet  cleaned. 

Margins  are:  at  top,  1;  at  sides,  T>f  inch;  at  bottom,  1 inches.  From  the  collec¬ 
tion  of  the  Duke  of  Buccleuch.  Very  brilliant  and  rich  impression,  in  perfect 
condition. 

Born,  March  13,  1749;  succeeded  his  father  as  2nd  Duke  of  Leinster,  1773; 
married,  1775,  Emilia  Olivia,  daughter  of  Lord  St.  George ;  died  at  Carton,  County 
Kildare,  October  20,  1804. 


GREEN,  VALENTINE 

Born  near  Birmingham  in  1739.  Removed  to  London  from  Worcester  in  1765. 
Was  a  member  of  the  Incorporated  Society  of  Artists  in  1767.  Was  appointed 
associate  engraver  to  the  Royal  Academy  and  mezzotinto  engraver  to  His  Majesty 
in  1775,  distinctions  well  merited  by  his  artistic  talents  and  unwearied  diligence. 
In  1789  he  obtained  from  Charles  Theodore,  Elector  of  Bavaria  (to  whom, 
when  Elector  Palatine,  he  had  been  appointed  engraver),  the  exclusive  privilege 
of  engraving  the  pictures  of  the  Diisseldorf  Gallery.  On  the  foundation  of  the 
British  Institution,  in  1805,  he  accepted  the  office  of  Keeper,  and  retained  it  to 
his  death,  which  took  place  at  St.  Alban’s  Street,  London,  June  29,  1813. 

His  portraits  exhibit  great  mastery  of  his  art,  joined  to  delicate  and  effective 
manipulation.  They  also  exhibit  the  leading  characteristic  of  the  painters  of  his 
day  ;  this  was  to  make  their  portraits  pictures,  or  works  of  art,  apart  from  the  repre¬ 
sentation  of  the  personage. 

1419  —  Louisa ,  Countess  of  Aylesford. 

After  the  painting  by  Sir  Joshua  Reynolds.  C.  S.  No.  4,  page  534. 

Second  state ,  with  the  inscription. 

Margins  are :  at  top,  1 y  ;  at  sides  and  bottom,  1  y2  inches.  Very  fine  impression,  in 
perfect  condition.  Gold  frame. 

Born,  1760  ;  eldest  daughter  of  Thomas,  3rd  Viscount  Weymouth,  who  was 
created  Marquess  of  Bath  in  1789  ;  married,  November  18,  1781,  Heneage,  4th  Earl 
of  Aylesford,  who  died  in  1812.  She  died  December  20,  1832. 


1420 — Lady  Elizabeth  Delme  and  Children. 

After  the  painting  by  Sir  Joshua  Reynolds.  C.  S.  No.  35,  page  548. 

Second  state ,  with  the  name  of  V.  Green  as  publisher,  and  with  the  date  of  publica¬ 
tion,  July  1,  1779. 

Trimmed  to  plate  mark  at  top,  sides,  and  bottom.  Fine  impression,  with  the  scratched 
letters  of  the  first  state  plainly  visible.  Small  piece,  J46  inch  wide  and  sf  inch 
long,  torn  from  upper  right-hand  corner;  two  pieces,  measuring  about  jJ  x 
inch  each,  from  lower  corners  to  right  and  left  ;  otherwise  in  excellent 
condition.  Gold  frame.  (Blythe  sale,  920  guineas.) 

Born,  1747,  daughter  of  Henry,  4th  Earl  of  Carlisle;  married,  1st,  in  1769, 
Peter  Delmg,  Esq.  (M.P.  for  Morpeth,  who  died  August  15,  1789);  2nd,  in  1794,  Cap¬ 
tain  Charles  Gamier,  R.N.  (who  was  drowned  December  16,  1796).  She  died  in 
Grosvenor  Place,  June,  1813.  The  children  are  believed  to  be  John  Delme,  Esq.,  of 
Cams  Hall,  Fareham,  Hants,  who  died  June  10,  1809,  aged  36;  and  Miss  Delme, 
who  died  February  27,  1794. 


HODGES,  CHARLES  HOWARD 

Born  about  1775-  About  1794  he  left  England  and  went  to  Holland,  where  he 
resided  until  his  death,  practising  as  a  portrait  painter,  but  continuing  for  some 
years  to  produce  mezzotinto  portraits.  He  died  at  Amsterdam  in  1837. 

As  his  earlier  prints  were  published  by  John  Raphael  Smith,  it  may  be  pre¬ 
sumed  that  he  was  a  pupil  of  that  artist ;  and  his  fine  painter-like  style  would  lead 
to  the  same  conclusion. 

1421  —  Mrs.  Williams  Hope. 

After  the  painting  by  Sir  Joshua  Reynolds.  C.  S.  No.  18,  page  632. 

Proof  before  all  letters.  Earlier  than  the  first  state  described  by  Chaloner  Smith. 

Margins  are:  at  top  and  bottom,  Sf  inch;  at  sides,  1 inches.  From  the  collection 
of  the  Duke  of  Buccleuch.  Magnificent  impression,  in  perfect  condition. 
Gold  frame.  (Edgcumbe  sale,  ^79.) 

Eldest  daughter  of  John  Goddard,  Esq.,  of  Woodford  Hall,  Essex,  and  niece  of 
Henry  Hope  ;  married  John,  son  of  the  Rev.  Mr.  Williams  of  Cornwall,  who  there¬ 
upon  added  Hope  to  his  surname,  ultimately  obtaining  the  king’s  license  to  use  the 
name  “  Hope”  only,  and  who  died  in  Harley  Street,  February  12,  1813. 


MacARDELL,  JAMES 

Born  in  Cow-lane  (afterwards  altered  to  Greek  Street),  in  Dublin,  about  1 7 2.9.  He 

was  a  pupil  of  John  Brooks,  and  came  with  him  to  London  about  174 7.  He 
soon  afterwards  commenced  to  practise  on  his  own  account,  and  about  1754 
established  himself  at  the  Golden  Head,  Covent  Garden,  where  he  published 
most  of  his  prints.  He  died  June  2,  1765. 

He  may  be  said  to  have  carried  on  the  art  from  the  point  to  which  it  had  been 
brought  by  Faber,  by  adopting  boldness,  decision,  and  freedom  of  handling  without 
losing  either  accuracy  or  truth.  His  talents  were  duly  appreciated  by  the  great 
painters  of  his  time,  especially  by  Reynolds,  who  considered,  as  Northcote  tells  us, 
that  his  own  fame  would  be  preserved  by  MacArdell’s  engravings,  when  the  pictures 
had  faded  away. 


1422  —  George ,  Duke  of  Buckingham,  and  His  Brother  Francis. 

After  the  painting  by  Van  Dyck.  C.  S.  No.  33,  page  847. 

Third  state. 

Margins  are:  at  top,  y2  ;  at  bottom,  y  inch;  at  sides,  Ij4  inches.  Very  fine,  rich  im¬ 
pression,  in  perfect  condition.  Oak  frame. 

Sons  of  George  Villiers,  Duke  of  Buckingham,  who  was  assassinated  by  Felton 
in  1628.  George  fought  through  the  Civil  War,  married  Mary,  daughter  of  Thomas, 
Lord  Fairfax,  rose  to  great  favor  with  Charles  II.,  and  after  the  Restoration  became 
prominent  as  wit,  courtier,  statesman,  and  rake.  He  died  in  1687.  Lord  Francis 
Villiers  was  born  after  his  father’s  murder.  He  was  a  youth  of  high  promise.  Was 
slain  in  a  skirmish  with  the  Parliamentary  Forces  in  1648. 


1423  —  Robert  Monckton,  Governor  of  New  York. 

After  the  painting  by  Thomas  Hudson.  C.  S.  No.  130,  page  882. 

Second  state. 

Margins  trimmed  to  plate  mark  at  top,  bottom,  and  sides.  Fine  impression,  in  excel¬ 
lent  condition.  Unframed. 

Second  son  of  1st  Viscount  Galway,  entered  the  army,  and,  after  having  had  a 
considerable  amount  of  service,  was  appointed  Governor  of  Nova  Scotia  in  1775,  and 
obtained  many  successes  against  the  French  and  their  Indian  allies;  was  second  in 
command  to  Wolfe  at  Quebec,  where  he  was  wounded  ;  with  Rodney  took  Marti¬ 
nique  ;  Governor  of  New  York  and  Major-General,  1761  ;  Governor  and  M.  P.  for 
Portsmouth.  He  died  May  21,  1782. 


1424  —  Lady  Caroline  Russell. 

After  the  painting  by  Sir  Joshua  Reynolds.  C.  S.  No.  160,  page  893. 

First  state.  Before  any  inscription,  and  before  margin  was  thoroughly  cleaned. 

Margins  are:  at  top  and  bottom,  1;  at  sides,  j4  inch.  Very  brilliant  impression,  in 
perfect  condition.  Gold  frame. 

Born  in  1763  ;  married,  1792,  Henry  Welbore,  2nd  Viscount  Clifden  ;  died  at 
Blenheim,  November  23,  1813. 


1425  —  Maria,  Countess  Waldegrave. 

After  the  painting  by  Sir  Joshua  Reynolds.  C.  S.  No.  184,  page  902. 

Third  state. 

Margins  are:  at  top  and  at  sides,  1  y  ;  at  bottom,  2 y  inches.  Good  impression.  Has 
been  folded  once,  but  well  flattened.  Otherwise  excellent  condition.  Gold 
frame. 

Daughter  of  Mr.  (afterwards  Sir  Edward)  Walpole  and  Mrs.  Dorothy  Paxton. 
Born,  July  3,  1739;  married,  1st,  in  1759,  James,  2nd  Earl  Waldegrave,  who  died  in 
1763  ;  2nd,  in  1766,  William  Henry,  Duke  of  Gloucester,  brother  of  George  III.,  who 
was  much  displeased,  sent  them  abroad,  and  the  marriage  was  not  published  until 
1772,  soon  after  which  the  brothers  were  reconciled.  She  died  at  Brompton,  August 
22,  1807,  and  is  buried  at  Windsor.  She  is  a  prominent  personage  in  the  Walpole 
Correspondence. 


REYNOLDS,  SAMUEL  WILLIAM 


Born  in  London  in  1773.  Pupil  of  Charles  Henry  Hodges.  Died  in  London  in 
1835.  The  distinguished  engraver,  Samuel  Cousins,  was  one  of  his  pupils. 


1426  —  Sir  Joshua  Reynolds ,  P.R.A. 

After  a  painting  by  himself. 

“Published  Jany  1,  1796  by  P.  Brown,  Crown  Street,  Soho.” 

Margins  are  :  at  top,  ^4  5  at  bottom,  ;  at  sides,  £4  inch.  Rich  velvety  impression, 
in  perfect  condition.  Gold  frame. 

Sir  Joshua  Reynolds,  Knight,  President  of  the  Royal  Academy,  Member  of  the 
Imperial  Academy  at  Florence,  Doctor  of  Laws  of  the  Universities  of  Oxford  and 
Dublin,  and  Fellow  of  the  Royal  Society. 

He  was  born,  July  16,  1723,  at  Plympton,  County  Devon;  was  placed  under 
Hudson,  afterwards  went  to  Italy,  and  on  his  return  became  the  leading  portrait 
painter  of  his  day;  and  his  works  have  continually  increased  in  estimation  down  to 
the  present  time.  He  died  at  his  house  in  Leicester  Fields,  February  23,  1792,  and 
was  buried  in  St.  Paul’s.  He  was  the  intimate  friend  of  Burke,  Goldsmith,  and  John¬ 
son,  and  was  preeminently  distinguished  at  an  epoch  of  excellence  in  art  and  literature. 


SHORT,  FRANK 


“No  one  has  done  so  much  as  Frank  Short  for  the  modern  revival  of  mezzotint.  ” 
— Frederic  Wedmore,  Etchings  in  England ,  page  95. 


1427  —  The  Mouth  of  the  Thames. 

After  the  painting  by  J.  M.  W.  Turner,  in  the  Duke  of  Westminster’s  Collection. 
Signed  artist’s  proof.  Special  selected  proof,  signed  also  by  Goulding  the  printer. 
There  were  printed  250  proofs,  and  the  plate  was  then  destroyed.  Oak  frame. 


SMITH,  JOHN  RAPHAEL 

Born  at  Derby  in  1752.  About  1767  he  came  to  London,  and,  it  is  said,  first 
engaged  himself  as  a  shopman,  but  soon  entered  on  the  career  of  an  artist.  He 
practised  painting  extensively,  and  drew  with  great  spirit.  A  very  considerable 
number  of  his  prints  are  from  his  own  designs  and  pictures,  yet  he  was  most 
successful  in  his  renderings  of  the  works  of  Gainsborough,  Reynolds,  and 
Romney.  He  died  at  Doncaster  on  March  23,  1812. 

"The  prints  published  by  him  between  the  years  1775  and  1787  are,  nearly  with¬ 
out  exception,  among  the  most  admirable  productions  ever  executed  in  mezzotint.” — 
Chaloner  Smith. 


1428  — Mrs.  Garnac. 


After  the  painting  by  Sir  Joshua  Reynolds.  C.  S.  No.  31,  page  1254. 

Fourth  state ,  with  the  name  and  address  of  H.  Humphrey  as  publisher. 

Margins  are:  at  top,  at  sides,  2  inches;  at  bottom,  1  inch.  Fine  impression,  in 

excellent  condition.  Gold  frame.  (Edgcumbe  sale,  ^1,2x8.)  This  price  is 
the  highest  yet  recorded  for  a  mezzotint  portrait. 

Elizabeth,  only  daughter  of  Thomas  Rivett,  Esq.,  of  Derby,  M.  P.,  married  John 
Carnac,  Esq.,  Brigadier-General  in  the  East  India  Company’s  service,  and  celebrated 
in  the  annals  of  India,  who  died  at  Mangalore  in  November,  1800,  leaving  his  brother- 
in-law,  who  also,  in  1801,  assumed  his  name,  his  heir.  His  son,  the  nephew  of  this 
lady,  was  created  a  baronet  in  1836. 


1429  —  Lady  Catherine  Pelham  Clinton. 

After  the  painting  by  Sir  Joshua  Reynolds.  C.  S.  No.  43,  page  1259. 

Second  state ,  with  the  inscription. 

Margins  are:  at  top,  bottom,  and  sides,  inch.  Very  fine  impression,  in  perfect 
condition.  Gold  frame.  (Blythe  sale,  940  guineas.) 

Born,  April  6,  1766;  only  daughter  of  Henry  Pelham  Clinton,  styled  Earl  of 
Lincoln,  and  granddaughter  of  Henry,  Duke  of  Newcastle  ;  married,  October  2, 
1800,  William,  styled  Lord  Folkstone,  who  succeeded  his  father  as  3rd  Earl  of  Rad¬ 
nor  in  1828.  She  died  at  Paddington  in  her  confinement  of  a  second  daughter.  May 
17,  1804. 


1430 —  The  Honorable  Mrs.  Stanhope. 

After  the  painting  by  Sir  Joshua  Reynolds.  C.  S.  No.  158,  page  1304. 

First  state ,  with  the  inscription  in  scratched  letters. 

Margins  are  trimmed  to  plate  mark  at  top  and  sides  ;  inch  °f  lower  margin,  and 
with  it  the  publication  line  has  been  cut  off".  Otherwise  in  perfect  condition. 
A  most  beautiful  impression.  Gold  frame. 

Eliza  Falconer,  one  of  the  beauties  of  the  day,  married  the  Hon.  Henry  Fitzroy 
Stanhope,  younger  son  of  the  2nd  Earl  of  Harrington. 


TURNER,  CHARLES 

Born  at  Woodstock  in  1773.  Entered  the  Academy  schools  in  1795,  and  at  first 
worked  for  Boydell  in  the  Bartolozzi  style.  Later  he  turned  his  attention  to 
mezzotinto  engraving,  and  was  especially  successful  as  an  interpreter  of  J.  M. 
W.  Turner,  for  whom  he  engraved  twenty-three  numbers  of  the  “Liber 
Studiorum.”  In  1828  he  was  elected  an  Associate  Engraver  of  the  Royal 
Academy,  and  died  in  London,  August  1,  1857. 


1434 


1431 


A  W.  El  son  &.  Co,  Boston 


1429 


1433 


1431 —  The  Penn  Family. 

After  the  painting  by  Sir  Joshua  Reynolds. 

“Published  by  C.  Turner,  Dec.  25,  1819.”  With  the  title,  engraved  in  script, 
below. 

Margins  are:  at  top  and  sides,  1  inch;  at  bottom,  13^  inches.  Magnificent  impres¬ 
sion,  in  perfect  condition.  Gold  frame. 

The  children  of  Thomas  Penn,  Esq.,  of  Stoke  Park,  Bucks,  and  Lady  Juliana 
Penn,  fourth  daughter  of  the  1st  Earl  of  Pomfret,  and  grandchildren  of  the  famous 
William  Penn.  Counting  from  left  to  right  of  the  print,  the  children  are  : 

Louisa  Hannah  Penn.  Born  1756,  died  1766. 

John  Penn.  Born  1760,  died  1834. 

Juliana  Penn.  Born  1753,  married  1771,  died  1772. 

Granville  Penn.  Born  1761,  died - ? 


WARD,  JAMES 

Born  in  Thames  Street,  London,  October  23,  1769.  At  an  early  age  became  a 
pupil  of  his  elder  brother  and  of  John  Raphael  Smith,  and  thus  skilled  in  mez- 
zotinto  engraving.  He  afterwards  chiefly  devoted  himself  to  painting,  espe¬ 
cially  subjects  of  animals,  and  was  appointed  painter  and  mezzotinto  engraver 
to  the  Prince  of  Wales  in  1794,  A.R.A.  in  1807,  and  R.A.  in  1811.  He 
died  November  23,  1859. 


1432  —  Mrs.  Billington  as  Saint  Cecilia. 

After  the  painting  by  Sir  Joshua  Reynolds.  C.  S.  No.  5,  page  1441. 

Third  state ,  with  the  inscription. 

Margins  are:  at  top  and  bottom,  ;  at  sides,  ^  inch.  Very  fine  impression,  in 
excellent  condition.  Gold  frame. 

Daughter  of  Weichsel,  a  good  musician  ;  born  in  London  about  1765  ;  exhibited 
her  musical  talents  at  an  early  age  ;  married,  when  only  sixteen,  Mr.  John  Billing¬ 
ton  ;  appeared  at  Covent  Garden  in  1786,  as  “  Rosetta”  ;  and  thenceforward  was  a 
leading  vocalist  both  in  England  and  on  the  continent.  After  the  death  of  her  hus¬ 
band,  married  M.  de  Felissent,  in  1797.  Died  at  her  estate  of  Artier,  near  Venice, 
August  25,  1818. 


WATSON,  JAMES 

Born  in  Ireland  in  1740.  Moved  to  London  early  in  life,  and  died  there,  May  20, 
1790.  His  style  is  excellently  finished  and  delicate,  and  he  seems  to  have 
been  in  the  habit,  when  not  completely  satisfied  with  a  plate,  of  working  an 
entirely  new  one,  instead  of  retouching  and  altering,  as  would  be  done  by  a  less 
scrupulous  artist.  His  daughter  was  Caroline  Watson,  the  accomplished  artist 
in  stipple  and  mixed  engraving. 


1433  —  Catherine  Bunbury. 

After  the  painting  by  Sir  Joshua  Reynolds.  C.  S.  No.  18,  page  1495. 

First  state ,  before  any  inscription ;  before  lower  margin  was  perfectly  cleaned. 

Margins  are:  at  top,  bottom,  and  sides,  inch.  From  the  collection  of  the  Duke  of 
Buccleuch.  A  superb  impression,  very  rich  and  velvety,  in  perfect  condition. 
Gold  frame. 

Eldest  daughter  of  Captain  Kane  Horneck  ;  immortalized  by  Goldsmith  as  "Little 
Comedy  married,  1771,  Henry  William  Bunbury  ;  died  at  General  Gwyn’s  resi¬ 
dence,  Egham  Hill,  July  8,  1799. 

1434  —  Barbara ,  Countess  of  Coventry. 

After  the  painting  by  Sir  Joshua  Reynolds.  C.  S.  No.  36,  page  1502. 

First  state  ( very  early  proof ),  before  inscription  ;  before  margin  on  which  inscription 
was  to  have  been  engraved  was  cleaned  to  receive  it. 

Margins  are :  at  top,  bottom  and  sides,  inch.  Magnificent  impression  in  perfect 
condition.  Gold  frame. 

Daughter  of  John,  10th  Lord  St.  John  ;  married,  1764,  George  William,  6th  Earl 
of  Coventry  ;  died  November  21,  1804. 

1435  —  Anne ,  Duchess  of  Cumberland. 

After  the  painting  by  Sir  Joshua  Reynolds.  C.  S.  No.  37,  page  1502. 

Second  state ,  with  the  date  1773. 

Margins  are  :  at  top  and  sides,  y2  inch;  at  bottom  the  publication  line  has  been 
trimmed  off;  otherwise  in  perfect  condition.  A  magnificent  and  rich  impres¬ 
sion.  Gold  frame. 

Eldest  daughter  of  Simon  Luttrell  (who  was  created  Baron  Irnham  in  1768,  and 
Earl  of  Carhampton  in  1785);  married,  1st,  Christopher  Horton,  of  Catton,  in  Derby¬ 
shire  ;  2nd,  in  1771,  H.  R.  H.  the  Duke  of  Cumberland,  younger  brother  of  George  III., 
who  was  much  displeased  at  the  alliance.  She  died  in  1803. 

1436  —  Samuel  Johnson. 

After  the  painting  by  Sir  Joshua  Reynolds.  C.  S.  No.  82,  page  1517. 

First  state ,  before  name  of  the  personage,  and  before  the  publisher’s  name  and 
address. 

Margin  has  been  trimmed  close  to  plate  mark  at  top  and  sides;  at  bottom  y  inch  has 
been  trimmed  off.  Slightly  foxed.  Very  good  impression.  Gold  frame. 

Born  September  18,  1709,  at  Lichfield.  Died  September  13,  1784.  He  has 
been  termed,  not  inaptly,  the  “  Colossus  of  English  literature.”  This  is  a  highly 
characteristic  and  remarkable  portrait. 

1437 — James  Paine ,  Architect ,  and  James  Paine,  Jr. 

After  the  painting  by  Sir  Joshua  Reynolds.  C.  S.  No.  ill,  page  1528. 

Second  state ,  with  the  inscription. 

Margins  are:  at  top,  bottom,  and  sides,  y  inch.  Fine  impression,  in  excellent 
condition.  Oak  frame. 

An  architect  of  considerable  practice  ;  published  plates  of  Mansion  House  at 
Doncaster,  1751,  and  other  works.  Was  High  Sheriff  of  Surrey  in  1785.  Died  in 
France  in  his  73rd  year,  in  1789. 


WATSON,  THOMAS 

Born  in  London  in  1743  >  died  there  in  1781.  His  earlier  prints  were  published  by 
Sayer  and  others;  about  1771  he  appears  to  have  resided  at  Broad  Street,  then 
to  have  removed  to  Bond  Street,  and,  on  becoming  partner  with  Dickinson,  to 
have  taken  Shropshire’s  place,  at  No.  158  in  that  street. 

His  style  is  bold  and  powerful,  resembling  that  of  Dickinson. 

1438  —  Maria ,  Lady  Broughton. 

After  the  painting  by  Sir  Joshua  Reynolds.  C.  S.  No.  8,  page  1554. 

First  state ,  before  any  inscription. 

Trimmed  to  plate  mark  at  top  and  bottom,  ^3-inch  margin  at  sides.  A  piece  about 

inch  square  has  been  torn  from  upper  left-hand  corner  of  the  print;  otherwise 
in  excellent  condition.  A  very  fine  and  rich  impression.  Gold  frame. 

Daughter  of  John  Wicker,  Esq.,  of  Horsham,  Sussex;  married,  August  1,  1766, 
the  Rev.  Sir  Thomas  Broughton,  Bart.;  died  June  7,  1785. 


Stipple  Engravings 


BARTOLOZZI,  FRANCESCO 

Born  in  Florence,  1727.  Pupil  of  Joseph  Wagner  at  Venice.  In  1764  he  removed 
to  London,  and  in  1769,  upon  the  foundation  of  the  Royal  Academy,  was 
nominated  as  one  of  the  original  members.  He  died  in  Lisbon  on  March  7, 
1815. 

1439  —  Miss  OJfy  Gwatkin  as  “  Simplicity  ” 

After  the  painting  by  Sir  Joshua  Reynolds.  Open  letter  proof.  Printed  in  brown. 

Margins  are:  at  top,  2j^;  at  sides,  2;  at  bottom,  3  inches.  Beautiful  impression, 
in  perfect  condition.  Gold  frame. 

Grandniece  of  Sir  Joshua  Reynolds.  Daughter  of  Robert  Lovell  Gwatkin,  Esq., 
of  Plymouth,  and  Theophila  Palmer,  the  favorite  niece  of  Sir  Joshua  Reynolds. 

This  is  usually  considered  to  be  one  of  the  most  charming  of  Sir  Joshua’s  pictures  of 
children. 

1440  —  Louisa  Hatnmond. 

After  Angelica  Kauffman.  Printed  in  red. 

Margins  trimmed  to  within  Jj’  inch  of  the  oval  engraved  surface.  Beautiful  impres¬ 
sion,  in  excellent  condition.  Gold  frame. 

Louisa  Hammond  is  a  character  in  “Emma  Corbett,  or  the  Miseries  of  Civil  War,” 
by  S.  J.  Pratt. 


EARLOM,  RICHARD 


Born  in  1743.  He  was  at  first  a  pupil  of  Cipriani,  but  later  devoted  himself  to  mez- 
zotinto  engraving,  in  which  art  he  is  said  to  have  been  self-taught.  Although 
he  executed  few  works  in  stipple,  they  are  of  a  quality  which  entitles  him  to 
rank  as  one  of  the  greatest  engravers  in  that  manner.  He  died  in  Exmouth 
Street,  Clerkenwell,  October  9,  1822. 

1441  —  George  Augustus  Eliot,  Lord  Heathjield. 

After  the  painting  by  Sir  Joshua  Reynolds.  Proof  with  the  names  of  painter  and 
engraver,  with  the  coat  of  arms  and  with  the  publication  line,  but  before  all 
other  lettering. 

Margins  trimmed  to  plate  mark  at  top  and  sides,  lower  margin  very  slightly  trimmed 
inside  plate  mark  to  the  right;  otherwise  in  excellent  condition.  Fine  im¬ 
pression.  Oak  frame. 

“THE  portrait  is,  of  course,  that  with  the  keys,  engraved  in  stipple  by  Earlom, 
after  Reynolds.” — Chaloner  Smith,  page  1728. 

Youngest  son  of  Sir  Gilbert  Eliot ;  born  about  1718  ;  entered  the  engineers  at 
Woolwich  ;  served  at  Dettingen  and  elsewhere  ;  commander  of  the  forces  in  Ireland, 
1774  ;  Governor  of  Gibraltar,  1776-1789  ;  and  maintained  it  against  the  attacks  of 
the  French  and  Spaniards  ;  created  Lord  Heathfield,  178 7.  Died  at  Aix-la-Chapelle, 
July  6,  1790. 


Stipple  Engravings  Printed  in  Colors 


BURKE,  THOMAS 

Born  in  Dublin  in  1749.  A  pupil  of  Dixon.  Died  in  London  in  1815.  In  the 
opinion  of  some  connoisseurs  his  engravings  in  stipple  are  more  beautiful  and  of 
a  greater  richness  than  those  executed  by  the  more  famous  engraver,  Bartolozzi. 

1442 — The  Duchess  of  Richmond. 

After  the  drawing  by  John  Downman.  Open  letter  proof.  Has  been  trimmed  to  oval, 
x  D/i  inches,  margin  being  about  inch  all  round  the  engraved  surface. 
Fine  impression,  in  excellent  condition.  In  contemporary  oval  gold  frame. 
Pasted  on  the  back  of  frame  is  the  original  lower  margin  of  the  print,  with 
engraved  inscription  as  follows : 

“HER  GRACE  THE  DUTCHESS  OF  RICHMOND 
“  Engraved  by  Mr.  Burke,  from  an  original  drawing  by  Mr.  Downman,  to  corre¬ 
spond  with  the  Portraits  from  the  Richmond  House  Scenery. 

“London.  Printed  for  M.  Lawson.  No.  168  Strand,  Feby.  14,  1788.” 

This  impression  was  lent  by  the  Honorable  F.  B.  Massey-Mainwaring  for  exhibition 
at  the  Hanover  Exhibition,  held  at  the  New  Gallery,  London,  1890—1891. 


TOMKINS,  PELTRO  WILLIAM 


Born  in  London  in  1760.  Died  there  April  22,  1840.  A  pupil  of  Bartolozzi,  who 
said  of  him,  “  He  is  my  son  in  art;  he  can  do  all  that  I  can  in  this  way,  and 
I  hope  will  do  more.” 

1443  —  Mrs.  Siddons. 

After  the  drawing  by  John  Downman.  Open  letter  proof. 

Has  been  trimmed  like  “The  Duchess  of  Richmond”  (see  above).  Inscription 
has  been  pasted  on  back  of  frame.  Fine  impression,  in  excellent  condition. 
In  contemporary  oval  gold  frame. 

(Fraser  sale,  150  guineas). 

This  impression  likewise  was  lent  by  the  Honorable  F.  B.  Massey-Mainwaring  for 
exhibition  at  the  Hanover  Exhibition. 

Born  at  Brecknock,  July  5,  1755,  daughter  of  Robert  Kemble,  the  manager  of  a 
company  of  strolling  players,  to  one  of  whom  she  was  married  at  Coventry,  in  1773, 
in  opposition  to  her  father’s  wishes.  Failed  at  first  in  London,  but  was  engaged  in 
the  provinces  and  at  Bath  ;  appeared  at  Drury  Lane,  1782,  and  was  then  appre¬ 
ciated  as  the  great  tragic  actress.  Separated  from  her  husband  in  1789.  Died 
June  8,  1831. 


WATSON,  CAROLINE 

Born  in  London  about  1760.  Daughter  and  pupil  of  James  Watson,  the  celebrated 
mezzotinto  engraver.  In  1785  she  was  appointed  engraver  to  Queen  Caroline, 
and  died  in  Pimlico,  June  10,  1814.  She  has  been  characterized  as  “a  most 
amiable  person,  and  an  accomplished  artist  in  stipple  and  mixed  engraving.” 

1444  —  Lady  Elizabeth  Foster  ( Duchess  of  Devonshire') . 

After  the  drawing  by  John  Downman.  Open  letter  proof. 

*  Has  been  trimmed  to  match  “The  Duchess  of  Richmond”  and  “Mrs.  Siddons” 

(see  above).  Inscription  has  been  pasted  on  back  of  frame.  Fine  impression, 
in  excellent  condition.  In  contemporary  oval  gold  frame. 

This  impression  likewise  was  lent  by  the  Honorable  F.  B.  Massey-Mainwaring  for 
exhibition  at  the  Hanover  Exhibition. 


/ 


Line  Engravings 

ANNEDOUCHE,  ALFRED 

Born  at  Paris  in  1833.  A  pupil  of  Achille  Martinet  and  of  Gleyre. 

1445  —  Les  Tresors  d'une  Mere. 

After  the  painting  by  A.  Jourdan.  Beraldi,  No.  19. 

Open  letter  proof  on  India  paper.  Gold  frame. 


BURGER,  JOHANNES 

Born  in  Burg,  Canton  Aargan,  May  31,  1829. 

1446  —  The  Vestal. 

After  the  painting  by  Angelica  Kauffman  in  the  Dresden  Gallery.  Apell,  No.  9. 
Proof  before  all  letters.  Oak  frame. 


A  pupil  of  Volpato. 


FOLO,  PIETRO 


1447  —  The  Descent  from  the  Cross. 

After  the  painting  by  Daniele  da  Volterra.  Open  letter  proof.  Gold  frame. 

The  original  painting  is  in  S.  Trinita  de’  Monti,  Rome.  Poussin  declared  this  to 
be  the  third  in  order  of  merit  of  the  great  pictures  of  the  world,  ranking  it  next  after 
“The  Transfiguration,”  by  Raphael,  and  “The  Communion  of  Saint  Jerome,”  by 
Domenichino. 


LEVY,  GUSTAVE 

Born  at  Toul,  January  23,  1819.  In  1837  he  came  to  Paris,  studied  wood  engrav¬ 
ing  under  Best  and  Leloir,  and,  later,  line  engraving  under  Geille.  His  first 
plate  was  exhibited  in  1844,  and  from  that  time  onward  he  executed  many 
admirable  plates.  He  was  the  vice-president  of  the  Societe  des  Graveurs  au 
Burin. — Beraldi ,  vol.  ix.,  pages  172-174. 

1448  —  La  Belle  Jardiniere. 

After  the  painting  by  Raphael,  in  the  Louvre.  Beraldi,  No.  9. 

Proof  before  letters,  on  India  paper.  Gold  frame. 

This  picture  is  supposed  to  be  the  one  ordered  by  Filippo  Segardi,  of  Siena,  left 
incomplete  in  Florence  by  Raphael  when  summoned  to  Rome,  and  finished  by 
Ridolfo  Ghirlandajo.  Segardi  sold  it  to  Francis  I.,  from  whose  collection  it  passed  to 
the  Louvre. 


Etchings 

ARAUJO,  JOAQUIN 

1449  —  Don  Baltasar  Cdrlos  ( Son  of  Philip  IF.  of  Spain). 

From  the  painting  by  Velasquez  in  the  Madrid  Gallery. 

Signed  artist’s  proof  on  Japan  paper.  A  special  selected  proof,  signed  also  by  Gould- 
ing,  the  printer.  There  were  printed  of  this  plate  150  proofs  only,  and  the 
plate  was  then  destroyed.  Oak  frame. 


HADEN,  SIR  FRANCIS  SEYMOUR 

Born  in  London,  September  16,  1818.  Founder  and  President  of  the  Royal  Society 
of  Painter-Etchers.  The  greatest  etcher  of  landscape  of  this  (or  perhaps 
any)  century. 

“  An  artist  of  rare  and  consummate  skill.” — Philip  Gilbert  Hamerton. 


1450 — The  Breaking  up  of  the  “  Agamemnon.” 

First  state.  Drake,  No.  128. 

Fine  impression  on  Whatman  paper.  Unsigned.  Gold  frame. 

“With  such  a  subject  as  this  for  a  motive,  an  etcher  will  do  manly  work  if  the 
strength  to  do  it  is  in  him.  And  this  is  manly  work.” — Philip  Gilbert  Hamerton, 
Etchings  and  Etchers,  page  310. 

1451  —  Calais  Pier. 

After  the  painting  by  J.  M.  W.  Turner  in  the  National  Gallery,  London. 

Second  state.  Drake,  No.  140.  There  were  printed  50  proofs  only  in  this  state. 

Signed  artist’s  proof  on  Whatman  paper. 

Full  margins.  In  perfect  condition.  Oak  frame. 

Seymour  Haden,  writing  in  1875  to  Philip  Gilbert  Hamerton,  says  of  this  plate: 

“  I  have  done  an  etching  of  Turner’s  ‘  Calais  Pier,’  36  inches  square,  which  is  by 
many  degrees  the  finest  thing  (if  I  may  be  permitted  so  superlative  an  expression)  I 
have  done,  or  ever  shall  do.  I  mean  to  publish  it  about  the  close  of  the  year.  I  have 
built  a  press  for  printing  it,  and  am  having  paper  made  expressly,  and  real  sepia 
(which  is  magnificent  both  in  color  and  price)  got  from  the  Adriatic  for  the  work; 
so  great  things  ought  to  result.” 

This  letter  is  quoted  as  above  in  “  Philip  Gilbert  Hamerton:  Autobiography  and 
Memoir,”  page  386,  written  by  his  widow.  The  memoir  continues: 

“  And  the  result  was  certainly  by  far  the  finest  of  modern  etchings,  according 
to  Mr.  Hamerton’s  opinion.  In  some  particulars  he  preferred  the  ‘  Agamemnon,’  but 
the  size  of  the  ‘  Calais  Pier,’  as  an  increase  of  difficulty  was  to  be  considered,  and  if 
the  ‘  Agamemnon  ’  was  an  original  conception,  it  cannot  be  said  that  ‘  Calais  Pier  ’ 
was  a  copy — so  much  being  due  to  interpretation.  Later  on,  when  my  husband  was 
in  possession  of  this  ehef-d’ceuvre,  it  always  occupied  the  place  of  honor  in  the 
house.” 


HERKOMER,  HUBERT 


Born  at  Waal,  Bavaria,  May  26,  1849.  Resident  of  London. 

“  Herkomer’s  theme  is  generally  a  dramatic  one,  and  into  it  he  introduces  such 
obvious  interest  of  line  and  expression  as  may  be  found  in  a  man  comely  and  vigor¬ 
ous,  a  girl  with  Anne  Page’s  ‘eyes  of  youth.’” — Frederick  Wedmore,  Etching  in 
England,  page  152. 

1451a — Girl  with  Flowers . 

Original  dry-point  (“  Op.  xiii.  18  y8”). 

Signed  artist’s  proof.  Oak  frame. 


HOLE,  WILLIAM 


1451b  —  Mill  on  the  Yare. 

After  the  painting  by  John  Crome  (“  Old  Crome  ”).  Signed  artist’s  proof  on  Japan 
paper.  There  were  printed  100  proofs  only,  and  the  plate  was  then  destroyed. 
Gold  frame. 


JASINSKI,  FfiLIX 

One  of  the  most  skilful  of  the  modern  school  of  translator-etchers. 

1452 — The  Golden  Stairs. 

After  the  painting  by  Edward  Burne-Jones,  in  Lord  Battersea’s  Collection.  Signed 
artist’s  proof  on  vellum.  Signed  by  both  painter  and  etcher.  There  were 
printed  350  proofs  only,  and  the  plate  was  then  destroyed.  Unframed. 

“  In  1880  appeared  ‘The  Golden  Stairs,’  in  which  a  decorative  motive  was  elabo¬ 
rated  into  a  picture  almost  as  sweet  and  delicate  in  its  color  as  a  white  lily.” — Cosmo 
Monkhouse,  “  Edward  Burne-Jones  ”  ( Scribner’s  Magazine,  February,  1894). 

1453  —  The  Birth  of  Venus. 

After  the  painting  by  Botticelli,  in  the  Uffizi  Gallery,  Florence.  Remarque  proof 
on  vellum,  signed  by  the  etcher.  Unframed. 

“This  figure  has  been  justly  praised  as  the  most  beautiful  Venus  in  modern  art. 
.  .  .  The  picture  speaks  to  us  like  a  story  of  the  golden  age  of  Saturn.” — Ernst 
Steinmann,  Botticelli,  page  85. 

1454  —  Madonna  and  Child ,  with  the  Infant  Saint  John. 

After  the  painting  by  Botticelli,  in  the  Louvre.  Remarque  proof  on  vellum,  signed 
by  the  etcher.  Unframed. 

1455  —  Madonna  and  Child ,  with  the  Infant  Saint  John. 

After  the  painting  by  Botticelli,  in  the  Louvre.  Proof  on  vellum,  unsigned.  Unframed. 


KRATKE,  LOUIS 


Born  in  Paris  in  1848.  Studied  painting  under  Gerome,  and  etching  under  Charles 
Waltner.  His  plates  are  good  examples  of  pure  etching,  and  careful  trans¬ 
lation  of  the  originals  from  which  he  works. 


1456  —  Salisbury  Meadows. 

After  the  painting  by  John  Constable.  Remarque  proof  on  vellum.  There  were 
printed  75  proofs  only,  and  the  plate  was  then  destroyed.  Gold  frame. 


LAGUILLERMIE,  FREDERIC-AUGUSTE 

Born  March  27,  1841.  Studied  under  Bouguereau  and  Leopold  Flameng.  In  1863 
he  exhibited  at  the  Salon  for  the  first  time,  showing  the  “  Flute  Player”  and 
“  The  Wife  of  Diomedes,”  both  from  paintings  by  Boulanger.  In  1866  he 
was  awarded  the  Prix  de  Rome.  He  was  placed  Hors  Concours ,  awarded  a 
second-class  medal,  and  decorated  with  the  Legion  of  Honor  in  1882.  Many  of 
his  earlier  etchings  were  done  for  the  “Gazette  des  Beaux-Arts  ”  and  “  L’lllus- 
tration,”  but  his  fame  rests  upon  his  masterly  plates  after  Van  Dyck,  Titian, 
Orchardson,  and  others. — Beraldi ,  vol.  ix.,  page  13. 


1457  —  Beatrix  de  C usance,  Duchesse  de  Lorraine. 

After  the  painting  by  Van  Dyck,  at  Windsor  Castle.  Signed  artist’s  proof  on  parch¬ 
ment.  There  were  printed  125  proofs  only,  on  parchment,  and  the  plate  was 
then  destroyed.  Oak  frame. 

Beatrix  de  Cusance,  Princess  de  Cantecroy,  Duchesse  de  Lorraine,  was  the 
daughter  of  Claude  Francois  de  Cusance,  Baron  de  Beauvoir,  and  of  Ernestine  de 
Withem  de  Bergues. 

After  the  death  of  her  husband,  the  Prince  de  Cantecroy,  or  Cautecroix,  she 
was  publicly  espoused  at  Besangon,  April  2,  1637,  by  Charles  IV.,  Duke  of  Lorraine, 
although  his  wife,  Nicole  de  Lorraine,  was  then  alive.  His  marriage,  however,  with 
Nicole,  who  was  his  cousin  german,  he  loudly  proclaimed  to  be  invalid,  and  strenu¬ 
ously  urged  the  authorities  at  Rome  to  pronounce  that  with  Beatrix  legal. 

In  these  endeavors  he  failed;  for  not  only  was  his  first  marriage  declared  valid, 
but  he  was  also  excommunicated  by  the  Pope,  from  the  penalties  of  which  he  was 
only  to  be  relieved  by  his  consenting  to  separate  himself  from  Beatrix:  but  the  papal 
thunders  fell  harmless,  and  the  Duke  still  continued  to  live  with  her.  This  indeed 
might,  in  some  degree,  be  owing  to  the  extreme  waywardness  of  his  character,  for 
when  his  wife  Nicole  died,  in  1657,  a  short  time  only  after  his  marriage  with  her  had 
been  declared  valid,  he  refused  the  importunities  of  Beatrix  to  ratify  his  union  with 
her;  and  while  he  thus  hesitated,  the  Court  of  Rome  declared  this  second  marriage 
illegal. 

This  last  proceeding  determined  him;  and  in  1663,  a  few  hours  only  before  she 
expired,  he  married  her  by  procuration. 

Two  children  were  the  fruit  of  this  connection,  the  Prince  Henry  de  Vaudemont 
and  Madame  de  Lillebonne  d’Elveuf,  the  latter  of  whom  was  at  one  time  proposed 
as  a  match  for  James,  Duke  of  York,  while  he  was  residing  abroad  in  exile. 


LEFORT,  HENRI 


Born  in  Paris,  August  31,  1852.  Pupil,  in  painting,  of  Cabanel;  and  in  etching  of 
Leopold  Flameng.  For  his  etching  of  Washington  he  was  awarded  a  third- 
class  medal  at  the  Salon  of  1881,  and  in  1890  his  large  portrait  of  Leon  Gam- 
betta  earned  for  him  the  decoration  of  the  Legion  of  Honor.  In  1885  Lefort, 
Laguillermie,  and  Courtry  founded  the  Soci'et'e  des  Aquafortistes  Francois.  In 
1888  Lefort  was  elected  president  of  the  Soci'et'e ,  and  has  been  twice  reelected. 

1458  —  Benjamin  Franklin  at  the  Age  of  yj. 

From  the  painting  by  Joseph  S.  Duplessis  (1725—1802).  Remarque  proof  on  Japa¬ 
nese  paper.  The  “  remarques”  are  the  seal  of  the  Grolier  Club,  and  from  a 
rare  terra-cotta  medallion  modelled  from  life  in  1777  by  Jean  B.  Nini  (1717- 
1786).  Gold  frame. 

The  original  painting  was  presented  by  Mr.  George  A.  Lucas  to  the  W.  H.  Hunt¬ 
ington  Collection  of  Americana  at  the  Metropolitan  Museum  of  Art,  New 
York. 

There  were  printed  387  proofs  on  Japanese  paper,  and  four  proofs  on  vellum,  for 
members  of  the  Grolier  Club  only. 

1459  —  Benjamin  Franklin. 

From  the  painting  by  Duplessis.  Remarque  proof  on  Japanese  paper.  Unframed. 


LHUILLIER,  VICTOR-GUSTAVE 

Born  at  Altkirch.  A  pupil  of  Gaucherel 

1460  —  “Dry  as  a  Lime  Kiln.” 

After  the  painting  by  Seymour  Lucas.  Artist’s  proof  on  Japanese  paper;  signed  by 
both  painter  and  etcher.  There  were  printed  100  proofs  only  on  Japanese 
paper.  Oak  frame. 


MACBETH,  ROBERT  W. 

Born  in  Glasgow,  September  30,  1848.  He  studied  art  at  the  Royal  Scottish 
Academy  schools  of  Glasgow,  receiving  a  medal  while  yet  a  student.  He  first 
exhibited  his  paintings  in  1870,  and  since  then  he  has  been  a  frequent  con¬ 
tributor  to  the  principal  English  and  continental  exhibitions.  He  is  an  Asso¬ 
ciate  of  the  Royal  Academy,  an  Honorary  Member  of  the  Academy  of 
Munich,  and  the  Royal  Academy  of  San  Fernando,  of  Madrid.  Although  he 
had  done  some  etchings  of  small  size  in  his  leisure  hours,  it  was  not  until  after 
the  death  of  his  friends,  Frederick  Walker,  George  Pinwell,  and  George  Mason, 
that  he  seriously  turned  his  attention  to  the  art.  His  plates  of  “  The  Harvest 
Moon,”  “  The  Plough,”  “  The  Mushroom  Gatherers,”  and  others,  are 


remarkable,  inasmuch  as  he  has  preserved  in  them  not  only  the  spirit  and 
composition  of  the  originals,  but  has  succeeded,  to  a  great  extent,  in  trans¬ 
lating  the  effects  of  color,  which  were  among  the  chief  charms  of  the  paintings 
themselves. 

His  translations,  made  directly  from  the  originals,  of  paintings  by  Titian  and  Velas¬ 
quez,  in  the  Gallery  at  Madrid,  and  of  the  “  Bacchus  and  Ariadne,”  from  the 
painting  by  Titian,  in  the  National  Gallery,  London,  are  among  the  most 
important  plates  of  the  nineteenth  century. 


1461  —  A  Rainy  Day  at  Cookham . 

After  the  water  color  by  Frederick  Walker.  Signed  artist’s  proof  on  Japanese  paper. 
Gold  frame. 

1462  —  The  Fishmonger  s  Shop. 

After  the  water  color  by  Frederick  Walker.  Signed  artist’s  proof  on  Japanese  paper. 

There  were  printed  500  proofs  only,  and  the  plate  was  then  destroyed.  Gold 
frame. 

“  In  the  winter  exhibition  of  the  Old  Society  of  1872-73  appeared  ‘  The  Fish¬ 
monger’s  Shop,’  which  many  connoisseurs  have  held  to  be  our  painter’s  finest  achieve¬ 
ment  in  water  color.  Daring  and  splendid  in  the  harmony  of  its  tints,  so  finely  bal¬ 
anced  as  to  produce  that  unity  of  tone  most  difficult  to  compass  with  contrasting 
hues  of  frank  brilliancy  .  .  .  the  tour  de  force  lies  in  the  happy  combination  of 
the  bright  green  woodwork  which  frames  the  shop  with  the  blue  green  and  the  red 
of  the  sparkling  fish,  with  the  indigo  blue  of  the  jolly  salesman’s  apron,  and  the 
yellow  and  tawny  of  the  girl’s  pretty,  old-fashioned  costume,  relieved  by  the  coral 
pink  ribbon  in  her  hat.  This  is  undoubtedly  a  brilliant  performance.” — Claude 
Phillips,  Frederick  Walker  and  His  Works,  pages  59-61. 


1463 — The  Mushroom  Gatherers. 

After  the  sketch  in  oils  by  Frederick  Walker.  Signed  artist’s  proof  on  Japanese  paper. 
There  were  printed  300  proofs  only,  and  the  plate  was  then  destroyed.  Gold 
frame. 

“  ‘  The  Mushroom  Gatherers,’  in  the  collection  of  Mr.  Somerset  Beaumont,  was 
painted  about  1868.  The  solemn,  mournful  tonality  of  the  landscape,  with  its 
illumination  of  earliest  dawn,  but  above  all  the  figure  of  the  man  stooping,  basket 
in  hand,  in  the  foreground,  irresistibly  reminds  the  beholder  of  the  noble  style,  the 
balance  in  action,  of  Jean-Frangois  Millet,  the  solemn  poet-painter  of  rustic  life. 
.  .  .  The  picture  in  its  present  state  is  a  finished  sketch  in  oils,  on  paper  affixed  to 

a  panel.” — Claude  Phillips,  Frederick  Walker  and  His  Works,  page  40. 


1464 — The  Plough. 

After  the  painting  by  Frederick  Walker.  Signed  artist’s  proof  on  Japanese  paper. 
There  were  printed  500  proofs  only,  and  the  plate  was  then  destroyed.  Gold 
frame. 

“  At  the  Royal  Academy  Exhibition  of  1870  appeared  *  The  Plough,’  which  is  at 
once  Walker’s  noblest  and  most  poetic  invention.  .  .  .  The  landscape  is  pure 
English,  simple  and  unaspiring  in  character,  and  yet  the  artist  has  been  so  possessed 
with  the  mysterious,  transforming  harmonies  of  sunset  that  he  succeeds  in  infusing 
into  his  scene — without  meddling  with  its  structure,  as  a  Turner  would  without  hesi¬ 
tation  have  done— something  of  a  portentous,  tragic  splendor.”— Claude  Phillips, 
Frederick  Walker  and  His  Works,  pages  52_54- 


1465  —  The  Harvest  Moon. 

After  the  painting  by  George  Mason. 

Trial  proof  before  the  first  published  state.  It  has  been  extensively  drawn  upon  by  the 
etcher,  and  besides  his  signature,  bears  the  words  “  yd  State,'’  written  in 
pencil,  on  the  lower  right-hand  corner  of  the  margin.  There  were  printed 
500  proofs  only  of  this  plate.  vGold  frame. 

“ .  .  .  That  pure  pastoral  poem  in  which  George  Mason  sings  to  us  of  love 
and  abundance,  and  of  happy,  if  fatiguing,  toil,  his  idyll  of  the  ‘  Harvest  Moon.’ 
.  .  .  Very  grateful  indeed  should  we  all  be  to  Mr.  Robert  Macbeth,  for  he  has  given 
George  Mason’s  idyll  to  the  public  in  one  of  the  noblest  translator’s  etchings  which 
any  Englishman  has  yet  produced. — Walter  Shaw-Sparrow,  “  The  Collection  of 
Mr.  Alexander  Henderson  ”  ( Magazine  of  Arts). 


1466 —  The  Harbour  of  Refuge. 

After  the  painting  by  Frederick  Walker.  Signed  artist’s  proof.  Gold  frame. 

“  To  the  year  1872  belongs  ‘  The  Harbour  of  Refuge,’  which  is,  perhaps,  the  most 
widely  appreciated  of  all  Walker’s  works.  .  .  .  Nothing  could  well  be  lovelier 
than  the  mise-en-scene  he  has  chosen  to  enframe  his  figures,  this  red  brick,  purple- 
toned  quadrangle  of  buildings  (studied  from  the  Fishmongers’  Almhouses  at  Bray), 
with  the  finely  placed  and  finely  composed. statue  on  its  pedestal  in  the  middle  of  the 
greensward  made  bright  with  star-like  blossoms;  with  its  flowering  may-tree,  only  less 
beautiful  than  the  one  in  ‘The  First  Swallow.’  .  .  .  Nowhere  has  Walker  lavished 

a  greater  skill  on  the  painting  of  detail,  or  given  a  more  jewel-like  quality  to  his 
work  than  in  certain  passages  here;  and  yet  there  are  many  signs  of  a  broadening  of 
technique,  such  as  is  not  to  be  traced  in  earlier  examples.” — Claude  Phillips, 
Frederick  Walker  and  His  Works,  pages  57-59. 


1467  —  Portrait  of  Alonso  Cano. 

After  the  painting  by  Velasquez,  in  the  Madrid  Gallery.  Signed  artist’s  proof  on 
vellum.  Special  selected  proof,  signed  also  by  Goulding,  the  printer.  There 
were  printed  350  proofs  only,  and  the  plate  was  then  destroyed.  Oak  frame. 

Alonzo  Cano,  painter,  sculptor,  and  architect,  sometimes  called  “the  Spanish 
Michelangelo,”  was  born  in  Granada  in  1601,  and  died  there  in  1667.  He  was  a  fel¬ 
low-pupil  and  friend  of  Velasquez. 


1468 —  The  Surrender  of  Breda  ( Las  Lanzas ). 

After  the  painting  by  Velasquez,  in  the  Madrid  Gallery.  Signed  artist’s  proof,  printed 
upon  Japanese  paper  laid  into  hand-made  paper.  Special  selected  proof,  signed 
also  by  Goulding,  the  printer.  There  were  printed  500  proofs  only,  and  the 
plate  was  then  destroyed.  Oak  frame. 

“  ‘  The  Surrender  of  Breda,’  better  known  under  the  name  of  ‘  Las  Lanzas,’ 
mingles  in  the  most  exact  proportion  realism  and  grandeur.  Truth  pushed  to  the 
point  of  portraiture  does  not  diminish  in  the  slightest  degree  the  dignity  of  the  his¬ 
torical  style. 

“  A  vast  and  spacious  sky,  full  of  light  and  vapor,  richly  laid  in  with  pure  ultra- 
marine,  mingles  its  azure  with  the  blue  distances  of  an  immense  landscape  where 
sheets  of  water  gleam  with  silver.  Here  and  there  incendiary  smoke  ascends  from 


the  ground  in  fantastic  wreaths  and  joins  the  clouds  of  the  sky.  In  the  foreground 
on  each  side  a  numerous  group  is  massed — here  the  Flemish  troops,  there  the  Spanish 
troops — leaving  for  the  interview  between  the  vanquished  and  victorious  generals  an 
open  space,  which  Velasquez  has  made  a  luminous  opening,  with  a  glimpse  of  the 
distance,  where  the  glitter  of  the  regiments  and  standards  is  indicated  by  a  few  mas¬ 
terly  strokes. 

“  The  Marquis  of  Spinola,  bare-headed,  with  hat  and  staff  of  command  in  hand, 
in  his  black  armor  damascened  with  gold,  welcomes  with  a  chivalrous  courtesy  that 
is  affable  and  almost  affectionate,  as  is  customary  between  enemies  who  are  generous 
and  worthy  of  mutual  esteem,  the  Governor  of  Breda,  who  is  bowing  and  offering 
him  the  keys  of  the  city  in  an  attitude  of  noble  humiliation.” — THEOPHILE  Gautier. 
Guide  de  V Amateur  au  Musee  du  Louvre. 


1469 — The  Tapestry  Weavers  ( Las  Hilanderas ). 

After  the  painting  by  Velasquez,  in  the  Madrid  Gallery.  Signed  artist’s  proof,  printed 
upon  Japanese  paper  laid  into  hand-made  paper.  Special  selected  proof,  signed 
also  by  Goulding,  the  printer.  There  were  printed  500  proofs  only,  and  the 
plate  was  then  destroyed.  Oak  frame. 

The  scene  is  laid  in  the  royal  tapestry  manufactory  of  S.  Isabel,  Madrid.  The 
picture  was  painted  about  the  year  1656,  and  was  one  of  the  treasures  of  the  palace 
of  Buen  Retiro. 


1470  —  Saint  Margaret. 

After  the  painting  by  Titian,  in  the  Madrid  Gallery.  Signed  artist’s  proof  on  vellum. 
Special  selected  proof,  signed  also  by  Goulding,  the  printer.  There  were 
printed  350  proofs  only,  and  the  plate  was  then  destroyed.  Oak  frame. 

Saint  Margaret,  the  daughter  of  a  priest  of  Antioch,  was  converted  to  Chris¬ 
tianity  when  a  child,  and  in  spite  of  terrible  torments  maintained  her  faith.  Satan 
attempted  to  terrify  her  by  appearing  in  the  form  of  a  dragon,  and  swallowed  her; 
but  instantly  burst  asunder,  and  Margaret  remained  unhurt. 


1471  —  Bacchus  and  Ariadne. 

After  the  painting  by  Titian,  in  the  National  Gallery,  London.  Signed  artist’s  proof 
printed  upon  Japanese  paper  laid  on  Wrigley’s.  Special  selected  proof,  marked, 
“Selected  proof,  Goulding.”  There  were  printed  500  proofs  only,  and  the 
plate  was  then  destroyed.  Oak  frame. 

“  Is  there  anything  in  modern  art — we  will  not  demand  that  it  should  be  equal — 
but  in  any  way  analogous  to  what  Titian  has  effected  in  that  wonderful  bringing 
together  of  two  times  in  the  ‘  Ariadne  ’  in  the  National  Gallery  ?  Precipitous,  with 
his  reeling  Satyr  rout  about  him,  repeopling  and  reilluming  suddenly  the  waste  places, 
drunk  with  a  new  fury  beyond  the  grape,  Bacchus,  born  in  fire,  fire-like  flings  himself 
at  the  Cretan.  This  is  the  time  present.  .  .  .  But  from  the  depths  of  the  imagina¬ 

tive  spirit  Titian  has  recalled  past  time,  and  laid  it  contributory  with  the  present  to 
one  simultaneous  effect.  With  the  desert  all  ringing  with  the  mad  symbols  of  his 
followers,  made  lucid  with  the  presence  and  new  offers  of  a  god — as  if  unconscious 
of  Bacchus,  or  but  idly  casting  her  eyes  as  upon  some  unconcerning  pageant — her 
soul  undistracted  from  Theseus — Ariadne  is  still  pacing  the  solitary  shore,  in  as  much 
heart  silence,  and  in  almost  the  same  local  solitude,  with  which  she  awoke  at  day¬ 
break  to  catch  the  forlorn  last  glances  of  the  sail  that  bore  away  the  Athenian.” 
— Charles  Lamb. 


RAEBURN,  H.  MACBETH 


Born  in  Helensburgh,  Dumbartonshire,  Scotland,  September  24,  i860.  He  studied 
painting  in  the  Royal  Scottish  Academy  schools,  where  he  received  the  highest 
award  for  any  picture  exhibited  during  the  period  of  his  scholarship.  He 
afterwards  studied  painting  in  Holland,  Germany,  France,  and  Spain;  but  his 
knowledge  of  etching  is  entirely  self-acquired,  he  having  had  no  master  in  the 
art.  His  first  exhibited  etching  was  shown  at  the  Royal  Academy  exhibition 
of  1887,  since  which  time  he  has  executed  a  number  of  important  and  excel¬ 
lent  plates  after  paintings  by  contemporary  artists,  as  well  as  after  the  works 
of  the  older  masters. 

1472  —  Portrait  of  a  Gentleman. 

After  the  painting  by  Van  Dyck,  in  the  Madrid  Gallery.  Signed  artist’s  proof  on 
vellum.  A  special  selected  proof,  signed  also  by  Goulding,  the  printer.  There 
were  printed  of  this  plate  25  proofs  only,  on  vellum,  and  75  proofs  on  Japanese 
paper,  after  which  the  plate  was  destroyed.  Oak  frame. 

In  the  opinion  of  many  connoisseurs  this  is  the  finest  plate  that  Raeburn  has 
yet  etched. 


RAJON,  PAUL 

Born  at  Dijon  in  1844.  He  studied  etching  under  Gaucherel  and  Flameng,  and  at 
the  Salon  of  1869  received  a  medal.  In  the  following  year,  and  again  in 
1873,  he  received  medals  for  his  etchings;  and  at  the  Universal  Exposition 
of  1878  he  was  placed  Hors  Concours  for  his  masterly  portrait  of  Darwin. 
In  1888,  when  his  fame  was  at  its  height,  and  when  commissions  were  being 
showered  upon  him,  he  died. — Beraldi ,  vol.  xi.,  pages  151-167. 

1473 —  The  Reader ,  Seated,  His  Head  Resting  upon  His  Hand. 

After  the  painting  by  Meissonier.  Beraldi,  No.  8. 

First  finished  state ,  before  all  letters,  before  the  plate  was  cut,  and  before  the  names  of 
painter  and  engraver  were  taken  out. 

Beautiful  impression,  from  Rajon’s  Collection.  One  of  Rajon’s  finest  plates. 
Unframed. 

1474 —  The  Flemish  Smoker. 

After  the  painting  by  Meissonier.  Beraldi,  No.  12. 

First  state.  Beautiful  impression,  on  Japanese  paper,  from  Rajon’s  Collection,  marked 
by  him  “  ier  Et.” 

This  plate  is  also  specially  commended  by  Beraldi.  Unframed. 


1475 —  The  Poor  Student. 


After  the  painting  by  Adolphe-Charles  Steinheil  (Steinheil  fils).  Beraldi,  No.  23. 
Proof  before  title ,  with  “  Rajon  d’apres  Steinheil  fils  ”  scratched  in  the  lower  margin. 
From  Rajon’s  Collection,  and  marked  by  him  “  Av.  Dernier  etat .”  One  of  the  most 
admired  of  Rajon’s  smaller  plates.  Unframed. 


147  G — The  Flower  Girl. 

After  the  painting  by  Murillo.  Beraldi,  No.  93. 

Signed  artist’s  proof  on  Japanese  paper.  From  Rajon’s  Collection.  Unframed. 

1477  —  Woman  Holding  a  Pitcher. 

After  the  painting  by  Goya.  Beraldi,  No.  117. 

Proof  before  all  letters.  Very  brilliant  impression.  From  Rajon’s  Collection.  Un¬ 
framed. 

1478  —  Portrait  of  Herr  Joseph  Joachim. 

After  the  painting  by  G.  F.  Watts.  Beraldi,  No.  159. 

Signed  artist’s  proof;  signed  by  both  painter  and  etcher.  Gold  frame. 

“  The  greatest  of  living  violin  players.” — Herr  Paul  David. 


REMBRANDT  VAN  RYN 

Born  in  Leyden  in  1608.  Died  in  Amsterdam  in  1669. 

“  The  opinion  among  etchers  which  enthrones  Rembrandt  as  the  king  of  their 
craft,  is  the  most  recent  instance  of  perfect  unanimity  among  people  of  all  nationalities. 
As  we  all  say  that  Phidias  was  the  greatest  sculptor,  Homer  the  greatest  epic  poet, 
and  Shakespeare  the  greatest  dramatist,  so  are  we  all  agreed  upon  the  world-wide 
supremacy  of  Rembrandt.  ...  In  his  own  lines  of  work  there  is  no  one  in  all 
history  to  be  compared  with  Rembrandt;  in  artistic  influence  he  has  one  equal,  en¬ 
tirely  unlike  himself,  and  that  is  Raphael.  They  are  the  two  most  influential  graphic 
artists  of  all  time.” — P.  G.  Hamerton,  The  Etchings  of  Rembrandt,  pages  13,  14. 

1479  —  Abraham  and  Isaac. 

Ch.  Blanc,  No.  5.  Claussin,  No.  39.  Bartsch,  No.  34.  Wilson,  No.  38. 

Only  state.  Signed,  and  dated  1645.  Fine  original  impression,  in  excellent  con¬ 

dition.  With  margins. 

“Very  striking  is  the  small  plate,  etched  in  1645,  of  Abraham  and  Isaac  on  the 
way  to  the  scene  of  the  sacrifice.  They  have  reached  the  lonely  mountain-top  sur¬ 
rounded  by  clouds.  Abraham,  who  appears  in  the  rich  Oriental  costume  which  Rem¬ 
brandt  had  invented  for  his  patriarchs,  has  placed  the  pail  containing  fire  on  the 
ground  and  turned  round  towards  his  boy;  the  latter,  however,  stands  in  amazement 
.  .  .  his  childish  intellect  cannot  take  in  what  his  father  says  to  him.” — Knackfuss, 
Rembrandt,  pages  96,  97. 


1480  —  Abraham’s  Sacrifice. 

Ch.  Blanc,  No.  6.  Claussin,  No.  36.  Bartsch,  No.  35.  Wilson,  No.  39. 

Only  state.  Signed,  and  dated  1655.  Fine  original  impression,  in  excellent  con¬ 
dition.  With  margins. 

“  By  its  grandeur  and  originality  of  invention  and  composition  may  well  take 
rank  as  one  of  Rembrandt’s  finest  plates.” — P.  G.  Hamerton,  The  Etchings  of  Rem¬ 
brandt,  page  52. 


1481  —  The  Flight  into  Egypt.  The  Holy  Family  Crossing  a  Rill. 

Ch.  Blanc,  No.  28.  Claussin,  No.  59.  Bartsch,  No.  55.  Wilson,  No.  60. 

Only  state.  Signed,  and  dated  1654.  Fine  original  impression,  in  excellent  con¬ 
dition. 

“This  is  one  of  Rembrandt’s  small  sketch  plates  in  which  an  entire  subject  is 
indicated  with  little  labor  both  in  form  and  light  and  shade.” — P.  G.  Hamerton,  The 
Etchings  of  Rembrandt,  page  48. 


1482 — Jesus  Christ  Preaching. 

Ch.  Blanc,  No.  39.  Claussin,  No.  71.  Bartsch,  No.  67.  Wilson,  No.  71. 

First  state ,  before  the  retouch  by  Pierre  Norblin.  Very  fine  original  impression,  in 
perfect  condition. 

“  No  artist  has  ever  been  able  to  give  a  more  sympathetic  picture  of  love  for 
mankind  than  that  of  the  Saviour  standing  in  a  dark  space  on  a  brightly  lighted 
eminence,  and  speaking,  with  upraised  hands,  to  the  people  gathered  round  him.  .  . 

The  whole  forms  a  wonderful  painter’s  poem  on  the  text:  ‘I  am  the  true  Light.’” 
Knackfuss,  Rembrandt,  pages  122,  123. 


1483  —  Clement  de  Jonghe. 

Ch.  Blanc,  No.  180.  Claussin,  No.  269.  Bartsch,  No.  272.  Wilson,  No.  274. 

Fifth  state  (of  six).  Signed,  and  dated  1651.  Fine  original  impression,  in  excellent 
condition.  From  the  collection  of  William  Sharp. 

“  The  admirable  portrait  of  Clemens  de  Jonghe,  who  was  one  of  the  most  famous 
printsellers  and  publishers  of  his  day,  and  who  looks  at  us  with  so  decided  and  calm 
an  expression  in  his  clever  eyes.” — Knackfuss,  Rembrandt,  page  118. 

“The  most  subtle  portrait  of  that  meditative  printseller,  Clement  de  Jonghe.  It 
is  treated  with  singular  breadth  and  luminousness,  and  of  character  is  a  profound 
revelation.” — Frederick  Wedmore,  Fine  Prints,  page  61. 


1484 — Jan  Lutma. 

Ch.  Blanc,  No.  182.  Claussin,  No.  273.  Bartsch,  No.  276.  Wilson,  No.  278. 

Second  state.  With  the  names  of  Lutma,  of  Rembrandt,  and  with  the  date  1656. 

A  magnificent  impression,  in  perfect  condition.  With  margin. 

“  Rembrandt  produced  one  of  his  most  masterly  portrait-etchings  in  1656,  the 
incomparably  picturesque  and  life-like  print  of  the  famous  goldsmith,  Janus  Lutma, 
of  Groningen.” — Knackfuss,  Rembrandt,  page  137. 

“One  of  his  finest  portraits,  that  of  ‘Johannes  Lutma,’  a  most  powerful  and 
characteristic  study,  both  of  face  and  figure.” — P.  G.  Hamerton,  The  Etchings  of 
Rembrandt,  page  55. 


1485  —  Uytenbogaert.  A  Dutch  Minister. 

Ch.  Blanc,  No.  190.  Claussin,  No.  278.  Bartsch,  No.  279.  Wilson,  No.  283. 
Fourth  state.  The  plate  made  a  true  octagon.  Signed,  and  dated  1635.  P'ine 
original  impression,  in  perfect  condition.  With  margin. 

“Worthy  to  rank  with  this  masterpiece  of  spirit  and  life  is  the  portrait  of  ‘Jan 
Uytenbogaert,’  preacher  of  the  sect  of  Arminian  Remonstrants;  a  portrait  pictur¬ 
esquely  posed,  and  so  carefully  carried  out  that  it  has  all  the  effect  of  a  picture.” 
— Knackfuss,  Rembrandt,  page  54. 


1486  —  Rembrandt ,  with  a  Scarf  around  His  Neck. 

Ch.  Blanc,  No.  229.  Claussin,  No.  17.  Bartsch,  No.  17.  Wilson,  No.  17. 

Third  state  (of  four).  Signed,  and  dated  1633.  Fine  original  impression,  in  excellent 
condition. 

“  Le  visage,  quoique  tout  entier  dans  l’ombre,  s’y  modele  avec  beaucoup  de  relief, 
de  rondeur  et  de  chaleur.” — Ch.  Blanc,  L’CEuvre  Complet  de  Rembrandt,  vol.  ii.,  page 
172. 

1487  —  Old  Man  with  a  Large  Beard,  Lifting  His  Hand  to  His  Cap. 

Ch.  Blanc,  No.  268.  Claussin,  No.  256.  Bartsch,  No.  259.  Wilson,  No.  260. 

Second  state  (before  the  retouch).  Remarkably  fine  impression,  in  perfect  condition. 

“  Rien  du  plus  saissant  que  de  voir  au  milieu  d’une  feuille  blanche  la  tete  et  la 
main  d’un  vieillard  qui  cherche  sa  pensee  et  semble  regarder  attentivement  dans 
1’interieur  de  son  esprit.” — Ch.  Blanc,  vol.  ii.,  page  239. 


1488 — The  Obelisk. 

Ch.  Blanc,  No.  328.  Claussin,  No.  224.  Bartsch,  No.  227.  Wilson,  No.  224. 
Second  state.  With  the  shading  on  the  cottage  roof.  Brilliant  impression,  rich  in  dry- 
point  work,  in  perfect  condition. 

“Tres  joli  paysage  ”  .  .  .  “  bien  fini.” — Bartsch,  page  149. 

The  first  state  has  sold  for  as  high  a  sum  as  £185  sterling. 


1489  —  Landscape ,  with  a  Cow  Drinking. 

Ch.  Blanc,  No.  337.  Claussin,  No.  234.  Bartsch,  No.  237.  Wilson,  No.  234. 
Second  state.  Very  good  impression,  in  excellent  condition. 

“  Paysage  grave  d’une  pointe  tres  spirituelle.” — Bartsch,  page  154- 


ROSENTHAL,  ALBERT 

1490  —  Alexander  Hamilton. 

After  the  painting  by  John  Trumbull.  Remarque  proof,  on  Japanese  paper,  signed 
by  the  etcher.  “Remarques”  are  portraits  of  the  painter  and  the  etcher. 
Facsimile  signature  of  the  painter  is  engraved  in  lower  margin.  This  proof  is 
numbered  “No.  99,  W.  J.  C.”  (William  J.  Campbell,  the  publisher). 
Unframed. 


1491  —  Thomas  Jefferson. 

After  the  painting  by  Gilbert  Stuart.  Remarque  proof,  on  Japanese  paper,  signed  by 
the  etcher.  “  Remarques  ”  are  portraits  of  painter  and  etcher.  Facsimile 
signature  of  the  painter  is  engraved  in  the  lower  margin.  This  proof  is  num¬ 
bered  “  No.  30,  W.  J.  C.”  Oak  frame. 


SHORT,  FRANK 

“Amongst  the  original  etchers  ...  I  place  Frank  Short  almost  at  the  top  of  the 
tree.” — Frederick  Wedmore,  Etching  in  England ,  page  93. 

1492  —  Noon  on  the  Zuyder  Zee. 

Original  etching.  Signed  artist’s  proof.  Unframed. 


SLOCOMBE,  C.  R 

1493  —  Portrait  of  Adtniral  Michel  Adriaanszoon  de  Ruyter. 

From  the  painting  by  Franz  Hals,  in  Earl  Spencer’s  Collection.  Remarque  proof,  on 
Japanese  paper,  signed  by  the  etcher.  Oak  frame. 

The  number  of  remarque  proofs  printed  was  limited  to  25. 

Michel  Adriaanszoon  de  Ruyter  was  born  at  Flushing,  Netherlands,  March  24, 
1607,  and  died  at  Syracuse,  Italy,  April  29,  1676.  He  served  against  the  Spaniards 
in  1641,  and  against  the  English,  1652-54.  He  was  made  vice-admiral  of  Holland 
after  the  death  of  Tromp  in  1653,  and  in  1659  commanded  the  Dutch  fleet  which  sup¬ 
ported  Denmark  against  Sweden.  He  was  subsequently  made  Admiral-in-Chief  of 
the  Dutch  fleet,  and  commanded  against  the  English  in  1665-67,  sailing  up  the  Thames 
and  Medway  in  1667.  He  commanded  against  the  combined  English  and  French 
fleets  in  1672-73,  and  was  mortally  wounded  in  a  battle  against  the  French  off  Messina 
in  April,  1676. 


1493a  —  Forbes-Rohertson  as  Cardinal  JVolsey. 

After  the  painting  by  Samuel  Phelps.  Remarque  proof.  Oak  frame. 


SMILLIE,  JAMES  D. 

Born  in  New  York  in  1833.  Son  and  pupil  of  the  eminent  American  engraver, 
James  Smillie.  He  is  a  member  of  the  National  Academy  of  Design,  of  the 
New  York  Etching  Club,  and  of  the  Royal  Society  of  Painter-Etchers,  London. 

1494  —  A  Reading  from  Homer. 

After  the  painting  by  Alma-Tadema.  Signed  artist’s  proof  on  Japanese  paper. 
This  is  one  of  four  proofs  printed  by  the  etcher  himself,  who  has  marked  upon 
it,  u  No.  4.  Reading  Homer — after  the  original  painting  by  Alma-Tadema.” 
Unframed. 


TISSOT,  JAMES  J. 

Born  at  Nantes  in  1836.  Died  at  his  home,  near  Paris,  1892.  His  work 
comprises  about  eighty  plates,  many  of  them  ranking  among  the  most  impor¬ 
tant  original  dry-points  produced  in  the  last  quarter  of  the  nineteenth  century. 

1495  —  Histoire  Ennuyeuse. 

Original  dry-point.  Beraldi,  No.  25. 

Signed  artist’s  proof  on  Japanese  paper.  Printed  by  the  artist,  and  bearing  his  red 
stamp.  Oak  frame. 

“  Morceau  remarquable  et  original.” — Beraldi,  vol.  xii.,  page  127. 

1496  —  October . 

Original  dry-point.  Beraldi,  No.  26. 

Signed  artist’s  proof  on  hand-made  paper.  Printed  by  the  artist,  and  bearing  his  red 
stamp.  Oak  frame. 

This  dry-point  is  usually  considered  Tissot’s  masterpiece. 


WALTNER,  CHARLES 

Born  in  Paris,  March  23,  1847.  Studied  with  Martinet,  Henriquel-Dupont,  and 
J.  L.  GerSme.  In  1869,  at  the  age  of  twenty-two,  Waltner  received  the  Prix 
de  Rome ,  and  in  the  following  year  a  medal  of  the  first  class  at  the  Salon,  for 
his  plate  of  a  portrait  after  Rubens.  From  that  time  forward  his  position  as 
one  of  the  greatest  translator-etchers  has  been  assured,  and  to  name  his  finest 
plates  is  to  name  a  succession  of  masterpieces. 

1497  —  Mrs.  Braddyl. 

After  the  painting  by  Sir  Joshua  Reynolds. 

Signed  artist’s  proof.  There  were  printed  200  proofs  only,  and  the  plate  was 
then  destroyed.  Gold  frame. 

The  wife  of  William  Braddyl,  Esq.,  of  Conyshead  Priory,  Lancaster. 

1498  —  Lady  Camden . 

After  the  painting  by  Sir  Joshua  Reynolds.  Beraldi,  No.  107. 

Signed  artist’s  proof  on  vellum.  There  were  printed  125  proofs  only.  Gold  frame. 

“  Piece  capitale.” — Beraldi. 

J499 —  The  Night-Watch  [La  Ronde  de  Nutt). 

After  the  painting  by  Rembrandt.  Beraldi,  No.  116. 

Open  letter  proof  on  Japanese  paper  laid  into  hand-made  paper.  Proof  “  No. 
64.8.”  In  this  state  400  numbered  impressions  were  printed.  Gold  frame. 

The  sortie  of  the  Banning  Cock  Company,  famous  all  the  world  over  by  the 
inaccurate  title  of  “The  Night  Watch,”  is  the  pride  and  chiefest  treasure  of  the  Ryks 
Museum  at  Amsterdam.  It  represents  the  gathering,  in  broad  daylight,  of  the  Civic 
Guard  of  Amsterdam,  outside  their  quarters,  from  which  they  are  emerging  at  the 
sound  of  a  drum.  Captain  Banning  Cock,  and  his  lieutenant,  Willem  von  Ruytenberg, 
are  in  the  centre.  On  a  shield  on  the  building  are  the  names  of  sixteen  of  the  principal 
figures,  all  portraits.  The  painting  is  one  of  Rembrandt’s  most  important  works, 
and  this  etching,  in  its  own  way,  is  hardly  less  remarkable  than  the  original  picture. 


WHISTLER,  JAMES  A.  McNEILL 


Born  in  Baltimore  (or  St.  Petersburg?)  in  July,  1834. 

“The  most  skilled  wielder  of  the  etching-needle  whom  the  world  has  seen  since 
Rembrandt.” — Frederick  Wedmorc. 

“  All  his  work  is  alike  perfect.  It  has  only  been  produced  under  different  cir¬ 
cumstances,  and  is  an  attempt  to  render  different  effects  or  situations.  Therefore  the 
methods  vary,  but  the  results  are  always  the  same — great.” — Joseph  Pennell. 


1500 — Pierrot,  Amsterdam. 

Wedmore,  No.  264. 

Brilliant  early  impression,  printed  by  Mr.  Whistler,  and  signed  with  his  “  butterfly  ” 
signature.  Framed  in  gray  and  ivory  frame,  as  designed  by  Mr.  Whistler. 

Mr.  Whistler  likes  this  the  best  of  his  Amsterdam  plates. 


1501  —  Bridge ,  Amsterdam. 

Wedmore,  No.  267. 

A  beautiful,  harmonious,  and  silvery  impression,  printed  by  Mr.  Whistler,  and  signed 
with  his  “  butterfly  ”  signature.  Framed  in  gray  and  ivory  frame. 

This  is  the  last  print  but  one  described  by  Mr.  Wedmore  in  his  catalogue  of  Mr. 
Whistler’s  etchings,  and  is  a  beautiful  example  of  the  Master’s  latest  manner. 


ZORN,  ANDERS  L. 

Born  at  Mora,  Sweden,  in  i860. 

“Near  the  extreme  end  of  the  range  of  the  art  ill  one  direction — at  the  opposite 
pole  to  the  subtile  delicacies  of  a  Whistler — I  should  put  Mr.  Zorn’s  bold,  spirited, 
swiftly  executed,  yet  completely  satisfying  works.  .  .  .  Mr.  Zorn’s  method  at¬ 

tracts  us  in  the  sense  that,  while  seemingly  hasty  and  almost  illogical,  it  proves  itself 
magnificently  adequate,  and  therefore  skilful  and  artful  in  the  highest  sense.” — Mrs. 
Schuyler  van  Rensselaer,  “A  Swedish  Etcher”  ( Century  Magazine,  August,  1893). 


1502  —  Mile.  X. 

Signed  artist’s  proof.  An  unusually  fine  impression.  Unframed. 

This  is  one  of  the  artist’s  best  and  rarest  etchings. 

“  Airily  treated,  but  with  a  quite  delicious  spirit,  grace,  and  humor." — Mrs. 
Schuyler  van  Rensselaer. 


Drawings 


RICHARD  PARKER  BONINGTON 


—  Waiting  on  the  Beach. 

Little  more  than  a  sketch,  this  picture  represents  Bonington’s  astonishing  dex¬ 
terity  in  water  colors.  Some  fisherfolk  are  grouped  around  a  fire  which 
has  been  lighted  on  the  beach,  apparently  at  Boulogne.  In  front  of  it  a  boy  is 
on  his  hands  and  knees ;  to  his  left  a  woman  is  sitting,  and  opposite  to  her 
another  kneels,  with  her  hands  extended  towards  the  flames,  while  at  the  back 
stands  a  man  in  a  blouse  and  knitted  cap.  To  the  left  of  the  party  is  a  hill, 
and  on  the  right  a  cottage.  The  effects  of  firelight  gleaming  on  the  figures 
and  diffused  through  the  gloom  are  rendered  with  delightful  verve  and  subtlety, 
and  yet  with  every  suggestion  of  an  impression  rapidly  noted.  “  Other  mod¬ 
ern  artists  are  perhaps  more  powerful  and  more  accurate  than  Bonington,” 
wrote  his  friend  Delacroix,  “  but  no  one  in  this  modern  school,  perhaps  no 
earlier  artist,  possessed  the  ease  of  execution  which  makes  his  works,  in  a  cer¬ 
tain  sense,  diamonds  by  which  the  eye  is  fascinated  and  pleased,  quite  inde¬ 
pendently  of  the  subject  and  the  particular  representation  of  nature.” 


Signed  at  the  lower  right,  R.  P.  Bonington. 


Height,  7  inches;  width,  5  inches. 


UNKNOWN 


—  The  Tree  of  Life. 

At  the  foot  of  the  allegorical  composition  the  roots  of  a  tree,  twining  between 
a  distaff  and  spinning-wheel,  afford  lodgment  for  some  children,  one  boy 
being  engaged  in  watering  their  growth.  Above  the  roots  is  poised  the  tall 
figure  of  an  angel,  scattering  flowers,  of  which  he  holds  a  profusion  in  the 
folds  of  his  robes.  To  the  right  some  children  are  traversing  the  branches, 
driving  lambs  before  them  with  reins,  or  holding  up  flowers,  or  blowing  upon 
long  horns,  as  they  advance  to  meet  a  husbandman  who  carries  a  scythe  over 
his  shoulder  and  clasps  a  woman  by  the  waist.  Beside  the  latter  figures  are 
a  mother  with  her  babe,  a  grandmother,  and  some  children.  Among  the 
branches  on  the  left,  boys  are  driving  cranes,  while  one  child  pelts  with  flowers, 
and  another  pours  water  upon,  the  crouching  figure  of  Old  Time.  Above  the 
angel  sport  winged  cupids,  two  of  whom  carry  cages  full  of  doves,  and  upon 
the  highest  point  is  perched  a  nest,  with  two  doves  sitting  below  it. 

Height,  37  inches;  length,  57H  inches. 


THIRD  EVENING'S  SALE 


Thursday,  January  29th, 


I9°3 


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1505  —  Adamy  Robert  and  James . 

Architecture,  Decoration,  and  Furniture  of.  26  plates, 
covers). 


Folio,  boards  (loose  in 
London,  1880. 


1506  —  Agassiz ,  Alexander. 


Three  Cruises  of  the  U.  S.  Coast  and  Geodetic  Survey  Steamer  u  Blake.”  Illus¬ 
trated.  2  vols.,  royal  8vo,  cloth,  gilt  top. 


Boston,  1888. 


1507  —  Albany. 


Description  of  the  Pastoral  Staff  given  to  the  Diocese  of  Albany  in  1897.  Illus¬ 
trated.  Folio,  half  brown  morocco. 


No.  101  of  150  copies  printed. 


Boston,  1900. 


1508  —  Alexander ,  James  W. 

Life  of  Archibald  Alexander.  Portrait.  1854.  Discourses.  1858.  2  vols.,  8  vo,  cloth. 

New  York,  1854-58. 


New  York,  1843. 


1509  —  Alison ,  Arch. 

History  of  Europe  (1789-1815).  4  vols.,  8vo,  sheep. 


1510  —  Allen,  J.  R. 


Early  Christian  Symbolism  in  Great  Britain  and  Ireland  before  the  Thirteenth  Cen¬ 
tury.  Illustrated.  8vo,  cloth. 


London,  1887. 


1511  —  Allen,  IV. 


American  Biographical  and  Historical  Dictionary.  Royal  8vo,  half  calf,  gilt  top. 

Boston,  1832. 


1512  —  A  l Is  ton,  Washington. 


Life  and  Letters  of.  By  J.  B.  Flagg.  Portrait  and  reproductions  from  Allston’s 
pictures.  8vo,  cloth,  gilt  top,  uncut. 


New  York,  1892. 


1513  —  American  Art  Annual,  1 8 g8. 

Illustrated.  8vo,  cloth. 


New  York,  1899. 


1514  —  Afidrews,  William  Loring. 

The  Bradford  Map:  the  City  of  New  York  at  the  time  of  the  granting  of  the  Mont¬ 
gomerie  Charter:  a  description  thereof  to  accompany  a  facsimile.  Illustrated. 
8vo,  cloth,  uncut. 

New  York,  1893. 

Only  142  copies  printed. 


1515  —  Angling. 

Piscatorial  Reminiscences  [by  Thomas  Boosey]  and  Gleanings.  By  an  old  Angler 
and  Bibliopolist.  Frontispiece.  Foolscap  8vo,  cloth,  uncut. 

Pickering,  London,  1835. 

The  Catalogue  of  Books  on  Angling,  which  concludes  this  volume,  is  by  William 
Pickering,  the  publisher. 


1516  —  Antiquary,  The. 

Vols*  XV. -XXII.  8  vols.,  4to,  half  brown  morocco. 


London,  1887-90. 


1517  —  Appleton,  Samuel. 

Memorial.  Compiled  by  I.  A.  Jewett.  Illustrated.  8vo,  half  red  levant  morocco, 
gilt  edges. 

Boston,  1850. 

1518  —  Appleton’s  Cyclopaedia  of  American  Biography. 

Edited  by  J.  G.  Wilson  and  J.  Fiske.  Numerous  portraits  on  steel.  6  vols.,  royal 
8vo,  half  brown  morocco. 

New  York,  1888-89. 


1519  —  Archaeological  Institute  of  America. 

American  Series:  I. -II.,  1881-84;  III.,  Pt.  I.,  1890;  IV.,  Pt.  II.,  1892;  V., 
1890.  Classical  Series:  I.,  1882;  II.,  1898  (2  copies);  also  I.  and  III., 
1882  and  1890.  American  School  of  Classical  Studies  at  Athens:  I.— V., 
1882-92,  with  duplicates  of  II.  and  IV.  First  Report  of  Executive  Com¬ 
mittee,  1880.  Annual  Reports,  1880-89,  1884-89,  1886-93,  1892-95. 
Bulletin  I.,  1883.  Index,  1891.  Together,  22  vols.,  8vo,  half  calf  or 
morocco,  gilt  top  (1  vol.  in  boards,  uncut). 

Boston  and  New  York,  1880-98. 

1520  —  Archceology . 

American  Journal  of  Archaeology  and  of  the  History  of  the  Fine  Arts.  Vols.  I.— XI. 
Second  Series,  I.— II.  Illustrated.  Together,  13  vols.,  royal  8vo,  half  calf 
extra,  gilt  top,  uncut. 

Baltimore,  Princeton,  and  Norwood,  1885-98. 


1521  — Architecture. 


Remnants  of  Old  English  Architecture, 
perial  8vo,  cloth. 


35  plates  by  T.  L.  Worthington.  Im- 

London,  1888. 


1522  —  Argnani,  Federigo . 

Le  Ceramiche  e  Maioliche  Faentine  dalla  loro  origine  lino  al  principio  del  secolo  XVI. 
20  colored  (folded)  plates.  4to,  half  calf. 

No.  258  of  285  large  paper  copies. 


Faenza,  1889. 


1523  —  Arnold,  T/wnas. 

Life  and  Correspondence.  By  Arthur  P.  Stanley, 
half  calf  extra. 


Portrait.  2  vols.,  crown  8vo, 
London,  1868. 


1524  —  Art. 

L’Art,  revue  hebdomadaire  illustree.  Illustrated  with  a  large  number  of  etchings, 
woodcuts,  etc.  35  vols.,  royal  folio,  half  brown  morocco,  gilt  top,  uncut. 

Paris,  1875-83- 

Complete  from  the  commencement,  and  has  extra  set  of  plates. 


1525  —  Art  Handbooks. 

Illustrated  Handbooks  of  Art  History:  English  Painters,  by  H.  J.  Wilmot-Buxton, 
1883.  Sculpture,  Renaissance  and  Modern,  by  Leader  Scott,  1886.  Paint¬ 
ing,  Spanish  and  French,  by  G.  W.  Smith,  1884.  Architecture,  Classic  and 
Early  Christian,  by  T.  R.  Smith,  1886.  Art  Text  Books:  Architecture, 
Gothic  and  Renaissance,  by  T.  R.  Smith,  1884.  Classic  and  Italian  Painting, 
by  Poynter  and  Head,  1885.  German,  Flemish,  and  Dutch  Painting,  by 
Buxton  and  Poynter,  1886.  7  vols.,  crown  8vo,  cloth. 

London,  1883-86. 


1526  —  Art  Review,  The. 

Vol.  I.,  Nos.  1-5.  4to,  brown  levant  morocco. 


New  York,  1886-87. 


1527  —  Art  Review,  The. 


Numerous  illustrations.  Vol.  I.,  Nos.  1—6.  Vol.  II., 
1  vol.  4to,  half  green  morocco,  gilt  edges. 


Nos.  1-4.  8  numbers  in 

New  York,  1886-87. 


1528  —  Art  Sales  ( 1628-1887 ). 

By  George  Redford.  Illustrated.  2  vols.,  royal  4to,  cloth,  uncut. 

London,  1888. 


1529  —  Athceneum,  The. 

July,  1888-June  24,  1893.  11  vols* 5  4toi  half  brown  morocco. 

London,  1888-93. 


1530  —  Audsley  and  Bowes. 

Keramic  Art  of  Japan, 
gilt  top,  uncut. 


32  plates,  some  colored.  Royal  8vo,  ornamental  cloth, 

London,  1881. 


1531  —  Audsley,  George  A. 

Ornamental  Arts  of  Japan.  Beautifully  illustrated  with  plates  in  colors.  2  vols. 
(four  parts),  folio,  brown  levant  morocco,  inside  borders,  gilt  edges. 

New  York,  1882-84 

No.  30  of  50  artist’s  proof  copies. 


1532  —  Azpuriia,  Ramon. 

Biografias  de  hombres  notables  de  Hispano-America.  Edited  by  General  Francisco 
L.  Alcantara.  4  vols.,  8vo,  half  morocco. 


Caracas,  1877. 


1533  —  Babe  Ion ,  E. 


Cabinet  des  Antiques  a  la  Bibliotheque  Nationale.  60  plates,  some  colored,  on  Japan 
paper.  Folio,  brown  levant  morocco,  gilt,  gilt  top,  uncut. 

Paris,  1887. 


1534 


■ Bacon ,  Francis  (Lord). 

Works,  collected  and  edited  by  Spedding,  Ellis,  and  Heath.  Portrait.  15  vols., 
i2mo,  cloth,  uncut. 

Boston,  1861. 

1535  —  Baird  (Rev.)  C.  TV. 

History  of  the  Huguenot  Emigration  to  America.  Illustrated.  2  vols.,  8vo,  half 
calf  extra,  gilt  top,  uncut. 

New  York,  n.  d. 

Baird,  H.  M. 

The  Huguenots  and  Henry  of  Navarre.  Maps.  2  vols.,  8vo,  cloth,  gilt  top. 

New  York,  1886. 

-  Balzac. 

Contes  Drolatiques.  425  illustrations  by  Dore.  8vo,  half  calf  extra,  gilt  top,  uncut. 

Paris,  n.  d. 

• Bancroft ,  George. 

History  of  the  United  States  of  America.  Portrait.  6  vols.,  8vo,  half  calf,  gilt 
top,  uncut. 

Author’s  last  revision. 


1536 


1537 


1538- 


New  York,  1885. 


1539  —  Bancroft,  Hubert  H. 


Native  Races  of  the  Pacific  States  of  North  America. 
8vo,  cloth. 


Maps  and  illustrations.  5  vols., 
New  York,  1875. 


1540  —  Bandello,  Matteo. 

Novels  of.  Englished  by  John  Payne, 
edges. 

Printed  for  the  Villon  Society. 


6  vols.,  4to,  vellum,  gilt,  gilt  top,  uncut 

London,  1890. 


1541  —  Bartlett,  J. 

Familiar  Quotations.  i2mo,  cloth,  gilt  top,  uncut. 


Boston,  1864. 


1542  —  Bartolozzi ,  Francesco. 

Works.  With  a  Biographical  and  Critical  Account  of  his  Life  and  Career,  by  A.  W. 
Tuer.  Numerous  illustrations.  2  vols.,  4to,  parchment  boards,  gilt  top, 


uncut. 


London  [1881]. 


1543  —  Barye ,  Antoine  Louis. 

Life  and  Works  of.  By  Charles  de  Kay. 

No.  170  of  525  copies  printed. 


86  illustrations.  4to,  vellum  boards,  uncut. 

New  York,  1889. 


1544  —  Barye ,  Antoine  Louis. 

Catalogue  of  Bronzes  and  Paintings  of,  etc.,  for  the  benefit  of  the  Barye  Monument 
Fund.  Portrait.  4to,  vellum  boards,  uncut. 

Limited  edition. 


New  York,  1890. 


1 545  —  Basilewsky  Collection. 


50  plates,  some  colored.  Folio,  half  red  levant  morocco,  gilt  top,  uncut,  by  Ritter. 

Paris,  1874. 

No.  3  of  no  large  paper  copies. 


1546  —  Beattie,  William . 

Castles  and  Abbeys  of  England.  Illustrated  with  numerous  engravings  on  steel  and 
wood.  2  vols.,  royal  8vo,  half  green  levant  morocco,  gilt  top,  uncut. 

London,  n.  d. 

1547  —  Beawnarchais,  Caron  de. 

Barbier  de  Seville.  Marriage  de  Figaro.  Portrait  and  other  etchings  by  Monzies 
after  S.  Arcos.  2  vols.,  i2mo,  half  red  levant  morocco,  gilt  top,  uncut. 

Paris,  1882. 

Holland  paper  copy. 


1548  —  Benson ,  Eugene. 

From  the  Asolan  Hills.  4to,  half  vellum,  uncut. 

Three  hundred  copies  printed. 


London,  1891. 


1 549  —  Berghem. 

A  volume  containing  60  fine  copper-plate  engravings,  from  original  designs  by 
Berghem,  including  many  brilliant  impressions.  Imperial  folio,  half  russia. 


1550  —  Berlin  Gallery. 

Die  Gemalde-Galerie  der  Koniglichen  Museen  zu  Berlin.  Text  by  J.  Meyer  and 
W.  Bode.  With  India  proof  illustrations  of  the  famous  plates.  Folio,  half 
brown  morocco. 

Berlin,  n.  d. 


1551  —  Berlin  Gallery. 

68  fine  photographs  of  the  most  brilliant  paintings  of  this  famous  gallery.  Imperial 
folio,  half  morocco. 


1552  —  Bertrand  du  Guesclin. 

Life  and  Times  of.  A  History  of  the  Fourteenth  Century.  By  D.  F.  Jamison. 
Portrait.  2  vols.,  8vo,  cloth,  uncut. 

Charleston,  S.  C.,  1864. 

Printed  in  England,  but  as  most  of  the  copies  were  captured  on  a  blockade 
runner,  during  the  Civil  War,  the  book  has  drifted  hither  and  thither,  now  common, 
now  rare,  until  it  has  taken  its  place,  not  as  a  rare  book  only,  but  as  literature. 


1553  —  Hamdy  Bey  and  Reinach. 

Une  Necropole  Royale  a  Sidon.  Four  parts,  imperial  folio,  of  plates  in  boards,  and 
4to  volume  of  text  unbound. 


1554 — Bible. 


Paris,  1892. 


[New  Testament  in  Greek.]  Engraved  title  after  Mellan.  Folio,  old  calf,  back 
and  sides  covered  with  fleurs-de-lis ,  and  the  arms  of  Louis  XIII.  stamped  on 
the  sides,  gilt  edges  (rubbed). 

N.  d. 


The  Earl  of  Aylesford’s  copy,  with  his  bookplate. 


1555  —  Binns,  R.  JV. 

Century  of  Potting  in  the  City  of  Worcester,  being  the  history  of  the  Royal  Porcelain 
Works  (1751-1851),  etc.  Illustrations.  8vo,  half  green  morocco,  gilt  top, 
uncut. 

London,  1877. 


1556  —  Blackburn ,  Henry. 

Breton  Folk:  an  artistic  tour  in  Brittany, 
cloth,  gilt  edges. 


170  illustrations  by  R.  Caldecott.  4to, 

London,  1880. 


1557  —  Boccaccio ,  G. 

Le  Decameron.  Illustrations  by  Jacques  Wagrez.  Translations  and  notes  by  Fran- 
cisque  Reynard.  3  vols.,  4to,  half  red  levant  morocco,  gilt  top,  uncut  edges, 
by  David. 

,  Paris,  1890. 

Edition  de  luxe. 


1558  —  Boethius. 


Consolation  of  Philosophy.  Translated  by  George  Colville,  1556.  Edited  by  E.  B. 
Bax.  Imperial  8vo,  boards,  uncut. 

Nutt,  London,  1897. 

No.  15  of  30  large  paper  copies. 


1559  —  Bologne ,  Jean. 

La  Vie  et  l’CEuvre.  Par  Abel  Desjardins.  Edited  by  F.  de  Vagnonville.  22  plates, 
besides  illustrations  in  the  text.  Folio,  maroon  levant  morocco,  gilt,  gilt 
edges. 

Paris,  1883. 

No.  49  of  50  copies,  with  a  second  set  of  proofs  on  Japan  paper. 


15G0  —  Borbonico  Museum . 


Real  Museo  Borbonico.  Over  525  plates  in  outline.  6  vols.,  8vo,  half  red  morocco. 


1561  —  Bos  suet,  J.  B. 


[N.  p.,  n.  d.] 


Oraison  Funebre  du  Grand  Conde.  Portrait  and  3  engravings, 
morocco  extra,  gilt  top,  uncut. 

No.  176  of  300  copies  on  Holland  paper. 


4to,  half  brown 
Paris,  1879. 


1562  —  Bossuet,J.  B. 


Oraisons  Funebres  et  Sermons  Choisis.  12  steel  engravings, 
levant  morocco,  inside  borders,  gilt  edges. 


Royal  8 vo,  brown 
Paris,  n.  d. 


1563  —  Boston. 


Sketch  Book  of  the  Architectural  Association  of  Boston, 
cloth  wrappers. 

No.  97  of  300  copies  printed. 


30  plates  loose  in  folio 
[Boston],  1883. 


1564 — Bouchot,  H. 

Cent  Modeles  inedits  de  l’Orfevrerie  Fran^aise  des  XVIIe  et  XVIII'  siecles,  exe¬ 
cutes  par  les  orfevres — sculpteurs  royaux  N.  de  Launay,  J.  J.  Roettiers,  T. 
and  F.  T.  Germains,  et  reproduits  d’apres  les  dessins  originaux  de  la  Biblio- 
theque  Nationale.  60  plates.  Folio,  half  green  morocco  extra,  gilt  top, 
uncut. 

Paris,  n.  d. 

1565  —  Bowes,  J.  L. 

Japanese  Pottery.  With  notes  describing  the  thoughts  and  subjects  employed  in  its 
decoration,  and  illustrations  from  examples  in  the  Bowes  Collection.  Maps 
and  67  plates  (some  colored).  Royal  8vo,  half  green  levant  morocco,  gilt 
top,  uncut  (cover  slightly  broken). 

Liverpool,  1890. 

Printed  on  Japan  paper. 


1566  —  Bowes,  J.  L. 


Vindication  of  the  Decorated  Pottery  of  Japan.  Plates  (some  colored).  Royal  8vo, 
boards. 


Privately  printed.  Presentation  copy  from  the  author. 


Liverpool,  1891. 


1567  —  Bowes,  J.  L. 


Notes  on  Shippo:  A  Sequel  to  Japanese  Enamels, 
gilt  top,  uncut. 


Plates.  Royal  8vo,  half  cloth, 


Presentation  copy  from  the  author. 


London,  1895. 


1568 — Brantome. 


Les  Sept  Discours  touchant  les  Dames  Galantes.  Edited  by  Henri  Bouchot.  Portrait 
and  other  illustrations  after  E.  de  Beaumont.  3  vols.,  i2mo,  half  red  levant 
morocco,  gilt  top,  uncut. 


Holland  paper  copy. 


Paris,  1882. 


1569 — Brassington,  JV.  Salt. 

Historic  Bindings  in  the  Bodleian  Library,  Oxford, 
green  morocco,  gilt  top,  uncut. 


24  reproductions.  4to,  half 
London,  1891. 


1570  —  Breviary. 

Breviarium  Romanum  cum  Psalterio  proprio  et  officiis  sanctorum  ad  usum  cleri  Basil¬ 
icas  Vaticanas.  dementis  X.  auctoritate  editum.  Engraved  frontispiece. 
Title  (mounted)  by  J.  Nolin,  and  four  plates  by  Nolin,  Spiere,  and  Roullet. 
4to,  old  red  morocco,  covered  with  a  floral  design  (rubbed). 

Paris,  1674. 

Pages  347-492  in  the  first  part  lacking;  pages  636-762  at  the  end,  in  facsimile. 
Inserted  engravings. 


1571  —  Brimmer  a?id  Chapman. 

Egypt.  Three  Essays.  Illustrated. 

1572  —  British  Artists. 


Royal  8vo,  green  ooze  calf,  uncut. 

Boston,  1892. 


19  facsimiles  in  imitation  of  the  original  water-color  drawings  after  paintings  by 
Turner,  Stanfield,  Prout,  Collins,  Nicholson,  etc.  2  vols.,  folio,  boards. 

London,  1828. 

1573  —  British  Poets. 

Milton,  3  vols. ;  Spenser,  5  vols. ;  Young,  2  vols.  ;  Dryden,  5  vols. ;  Thomson,  2 
vols. ;  Chaucer,  6  vols.  ;  Burns,  3  vols. ;  Swift,  3  vols.  ;  Churchill,  2  vols.  ; 
Prior,  2  vols.  ;  Butler,  2  vols.  ;  Cowper,  3  vols.  ;  Pope,  3  vols.  One  vol. 
each  of  Goldsmith,  Akenside,  Falconer,  Gray,  White,  Shakespeare,  Howard, 
Parnell,  Wyatt,  Beattie,  and  Collins.  Portraits.  Together,  52  vols.,  crown 
8vo,  half  calf  extra. 

London,  18  66. 

No.  16  of  250  copies  printed  before  stereotyping. 


1574  —  Brooke  (Sir)  Arthur  De  C. 

Sketches  in  Spain  and  Morocco.  Illustrated.  2  vols.,  8vo,  half  sprinkled  calf  extra. 

London,  1831. 

1575  —  Brown,  John  ( M.D. ). 

Horae  Subsecivae,  1864.  Locke  and  Sydenham,  1866.  2  vols.,  i2mo,  half  calf 

extra,  gilt  top,  uncut. 


London,  1864-66. 


1576  —  Brown  [Major)  R.  H. 


The  Fayum  and  Lake  Moeris.  Notes 
trations.  4to,  cloth,  uncut. 


by  Colonel  Sir  Colin  Scott-Moncrieff.  Illus- 

London,  1892. 


1577  —  Brunswick  Museum. 

Vorziiglichsten  Gemalde  des  Herzoglichen  Museums  zu  Braunschweig,  herausgegeben 
von  Herman  Riegel.  100  photogravures.  4to,  brown  levant  morocco, 
gilt  top,  uncut. 

Berlin,  1885. 


1578  —  Bryant  Festival  at  the  “  Century .” 

Illustrated  by  20  inserted  portraits,  etc 
No.  82  of  150  copies  printed. 


4to,  half  green  morocco,  gilt  top,  uncut. 

New  York,  1865. 


1579  —  Buck,J.  H. 

Old  Plate,  Ecclesiastical,  Decorative,  and  Domestic;  its  Makers  and  Marks.  82 
illustrations.  8vo,  cloth,  silver  top. 

New  York,  1888. 

1580  —  Bunyan ,  J. 

Pilgrim’s  Progress.  Portrait.  40  illustrations  by  D.  Scott.  8vo,  maroon  morocco, 
antique,  gilt  edges. 

Edinburgh,  n.  d. 


1581  —  Bunyan,  J. 


Pilgrim’s  Progress.  100  illustrations  by  F.  Barnard  and  others.  Engraved  by 
Dalziel  Brothers.  4to,  half  vellum,  gilt  top,  uncut. 

London,  1880. 

Edition  de  luxe.  No.  219  of  500  large  paper  copies,  with  proofs  on  Japan  \paper. 


1582  —  Burke,  Edmund. 

Works.  Portrait.  12  vols.,  i2mo,  cloth,  uncut. 


Boston,  1865-67. 


1583  —  Burlington  Fine  Arts  Club. 

Catalogues  for  1868-75,  1876-79,  1880-86,  1887-90. 
blue  morocco,  gilt  top. 


4  vols.,  royal  4to,  half 
London,  1868-90. 


1584  —  Burlington  Fine  Arts  Club. 

Description  of  English  and  Continental  Porcelain  exhibited  June,  1873.  18  photo¬ 

graphs.  Royal  4to,  half  blue  calf,  gilt  edges. 


London,  1873. 


1585  —  Burlington  Fine  Arts  Club. 

Catalogue  of  Bronzes  and  Ivories, 
morocco. 


1879.  Numerous  illustrations.  4to,  half 

London,  1879. 


1586  —  Burlington  Fine  Arts  Club. 

Illustrated  Catalogue  of  Specimens  of  Persian  and  Arab  Art. 
Royal  4to,  half  green  morocco. 


1885.  32  illustrations. 

London,  1885. 


1587  —  Burlington  Fine  Arts  Club. 

Catalogue  of  Objects  of  Greek  Ceramic  Art. 
levant  morocco,  gilt  top. 


Numerous  plates.  4to,  half  blue 
London,  1888. 


1588  —  Burlington  Fine  Arts  Club. 

Exhibition  of  Portrait  Miniatures.  36  plates, 
gilt  top. 


Royal  4to,  half  blue  morocco  extra, 

London,  I889. 


1589  —  Burlington  Fine  Arts  Club. 

Exhibition  of  Book  Bindings.  114  plates,  mostly  colored, 
morocco,  gilt  panels  and  edges,  by  Zaehnsdorf. 


Royal  4to,  green  levant 
London,  1891. 


1590  —  Burlington  Fine  Arts  Club. 

Exhibition  of  Book  Bindings.  Royal  4to,  half  red  levant  morocco,  gilt  top. 

London,  1891. 


1591 — Burlington  Fine  Arts  Club. 

Exhibition  of  Pictures  by  Masters  of  the  Netherlandish  and  Allied  Schools,  etc.  29 
plates.  Royal  4to,  brown  levant  morocco,  gilt  back  and  sides,  gilt  top,  uncut 
edges,  by  Zaehnsdorf. 

London,  1892. 


1592  —  Burlington  Fine  Arts  Club. 

Art  of  Ancient  Egypt.  39  plates.  Royal  4to,  cloth. 
Privately  printed. 


London,  1895. 


1593  —  Burlington  Fine  Arts  Club. 

Catalogue  of  Collection  of  European  Enamels  from  earliest  date  to  end  of  seventeenth 
century.  72  plates,  some  colored.  Royal  4to,  cloth,  uncut. 

London,  1897. 


Large  paper  copy. 


1594  —  Burne-Jones ,  Edward. 

Record  and  Review.  By  Malcolm  Bell.  Numerous  illustrations.  Folio,  cloth,  gilt 
top,  uncut. 

London,  1892. 

1595  —  Burnet ,  John. 

Treatise  on  Painting.  Numerous  plates,  some  colored.  4to,  half  brown  morocco, 
gilt  top,  uncut. 

The  four  parts  complete. 


London,  1880. 


1596  —  Burty ,  Philippe. 

Chefs-d’CEuvre  des  Arts  Industries.  200  wood  engravings.  Royal  8vo,  half  red 
morocco,  gilt  edges. 

Paris,  n.  d. 

1597  —  Butler ,  IV.  A. 

Nothing  to  Wear:  An  Episode  of  City  Life.  Illustrated  by  Hoppin.  i2mo,  cloth. 

New  York,  1857. 

First  edition. 


1598  —  Byron  (Lord). 

English  Bards  and  Scotch  Reviewers.  Square  8vo,  green  levant  morocco,  inside  bor¬ 
ders,  gilt  edges,  by  Bain. 

London,  1810. 

Unique  copy.  Text  inlaid  to  square  8vo,  and  extra  illustrated  by  the  insertion 
of  176  portraits,  views,  etc.,  some  of  which  are  on  India  paper,  and  some  colored; 
the  latter  including  a  brilliant  portrait  of  Madame  Catalani. 


1599  —  Cabrol,  Elie. 

Voyage  en  Grece,  1889:  notes  et  impressions, 
blue  morocco,  gilt  top. 

500  copies  printed. 


21  plates  and  5  plans.  4to,  half 
Paris,  1890. 


1600 — Camp  ana,  Gio.  Pietro. 

Antiche  Opere  in  Plastica.  68  plates, 
sides,  gilt  top. 

1601  —  Cartault,  A. 


4to,  half  brown  morocco,  gilt  back  and 

Rome,  1842. 


Terres  Cuites  Grecques  photographiees  d’apres  les  originaux  des  collections  privees  de 
France  et  des  Musees  d’Athenes.  29  plates.  4to,  half  brown  levant  morocco, 
gilt  top. 

Paris,  n.  d. 


1602  —  Castellani,  Alessandro. 

Catalogue  des  Objets  d’Art.  Illustrated.  4to,  half  calf  extra,  gilt  top,  uncut. 

Paris,  1884. 


Catalogues 


1603 — !•  Aspinwall  Gallery.  New  York,  1886.  G.  F.  Watts  in  New  York  Royal  Academy. 

1888.  II.  Castellani  Collection.  New  York,  1877.  Collection  of  M.  H. 
Roussel.  Paris,  1885.  Illustrated.  2  vols.,  8vo,  half  brown  morocco, 
gilt  top. 


1604 - Residence  a  Amsterdam,  etc.,  Galerie  de  M.  P.  J.  de  Naples. 

3  vols.  in  1,  4to,  half  blue  morocco  extra,  gilt  top. 


Collection  Richards. 
Rome,  1882-90. 


1605  - Pedestal  Fund  Art  Loan  Exhibition.  4to,  half  brown  morocco,  gilt  top. 

New  York,  1883. 

1606  —  Collection  Photiades  Pacha.  Paris,  1890.  Illustrated.  Galerie  de  M.  Toscanelli. 

Florence,  1883.  2  vols.  in  1,  4to,  half  blue  morocco  extra,  gilt  top,  uncut. 


1607  Fountaine  Collection  of  Majolica.  Photographs.  1884.  Passalaqua  Collection.  1885. 

Royal  House  of  Stuart.  N.  d.  Historical  Paintings  and  Relics.  New  York, 
1889.  4  vols.,  crown  8vo,  and  8vo,  half  brown  morocco,  gilt  top. 

London,  etc.,  1884-89. 

1608  - Collection  Meazza  de  Milan.  1884.  Santo  Varni  di  Genova,  1887.  Hamilton 

Collection,  London,  1889.  Peinture  Grecque  .  .  .  de  Cleopatre.  Paris, 

1889.  3  vols.  in  1,  royal  8vo,  half  brown  morocco  extra,  gilt  top. 


1609  —  Grosvenor  Gallery.  Engravings  of  Charles  Tennant.  London,  1884.  Royal  House 
of  Tudor,  1890.  2  vols.,  4to,  half  brown  morocco,  gilt  top. 

London,  1884-90. 


1610  - Pictures,  etc.,  of  C.  B.  Denison. 

gilt  top,  uncut. 


Illustrated.  8vo,  half  blue  levant  morocco  extra, 

[London,  1885.] 


1611 - Library,  etc.,  of  H.  Cole,  etc.  Illustrated.  1890.  Paint  and  Clay  Club,  etc., 

1885.  Illustrated.  A.  L.  Barye.  Portrait.  3  vols.  in  1,  4to,  half  brown 
morocco,  gilt  top,  uncut. 

Boston  and  New  York,  1885-90. 


1612  —  Collection  de  Charles  Stein.  Illustrated.  4to,  half  brown  morocco,  gilt  top,  uncut. 

Paris,  1886. 

1613  - Collection  de  M.  Ch.  Stein,  1886.  Museum  of  Fine  Arts.  Casts  from  Greek  and 

Roman  Sculpture,  by  E.  Robinson.  Boston,  1887.  Collection  de  M.  A.  Tollin. 
1889.  3  vols.  in  1,  i2mo,  half  green  levant  morocco,  gilt  top. 

Paris  and  Boston,  1886-89. 


1614  —  Collection  Perkins.  Paris,  1890.  Collection  H.  Hoffmann.  Paris,  1888.  Collection 
Alberici.  Rome,  1886.  (All  illustrated.)  3  vols.  in  1,  4to,  half  blue  morocco, 
gilt  top. 


1015  —  Engravings  of  Duke  of  Buccleuch,  1887.  Exposition  Universelle,  1889,  etc.  3  vols. 
in  1,  8vo,  half  brown  morocco,  gilt  top. 


1616  —  Mezzotint  Engravings  of  J.  C.  Smith.  1887.  Engravings,  etc.,  of  G.  W.  Reid. 
1890.  2  vols.  in  1,  royal  8vo,  half  brown  morocco,  gilt  top. 

London,  1887-90. 

1G17  —  Ancient  Marbles  at  Lansdowne  House.  Royal  8vo,  half  brown  morocco,  gilt  top. 

London,  1889. 

101g  —  Art  Collection  of  E.  Joseph.  Illustrated.  8vo,  half  brown  levant  morocco,  gilt  top. 

London,  1890. 

1619  - Collection  Perkins.  Illustrated.  4to,  half  red  levant  morocco,  gilt  top,  uncut. 

Paris  [1890]. 


1620  —  Collection  de  M.  G.  Rothan.  Illustrated.  4to,  half  green  morocco,  gilt  top,  uncut. 

Paris,  1890. 


1621  - Collection  of  Prosper  Crabbe  of  Brussels.  Illustrated. 

top,  uncut. 


4to,  half  brown  morocco,  gilt 
Paris,  1890. 


J022  —  Aquarelles  (Jhr.  W.  C.  M.  de  Jonge  van  Ellemeet). 
morocco,  gilt  top. 


Illustrated.  8vo,  half  brown 

Amsterdam,  1890. 


1623  —  Objets  d’Art.  Collection  de  M.  L.  de  M. 
top,  uncut. 


Illustrations.  4to,  half  levant  morocco,  gilt 

Paris,  1891. 


1024  —  Villa  Salviatino,  Florence.  1891.  Tableaux,  etc.,  de  E.  van  Marcke.  Paris,  1891. 

Collection  John  Saulnier.  1892.  All  illustrated.  3  vols.  in  1,  royal  8vo,  half 
brown  levant  morocco  extra,  gilt  top. 


1025  —  Katalog  der  hoech’schen  Sammlung  von  Gemalden  alter  Meister.  Herausgegeben 
von  J.  Th.  Schall.  77  illustrations.  4to,  half  brown  levant  morocco,  gilt 
top. 

Munich,  1892. 

1020  —  Lawrie  Collection.  Illustrations.  4to,  half  brown  levant  morocco,  gilt  top. 

Paris,  1893. 

1627  —  Marbres  Antiques,  etc.:  Musee  du  Pavilion  de  L’Horloge  a  la  Villa  Borghese. 
Illustrated.  4to,  half  brown  morocco,  gilt  top. 


Rome,  1893. 


1628  Collection  of  oil  paintings  and  water-color  drawings  of  X.  E.  Waggaman.  i2mo,  half 
blue  morocco,  gilt  top. 


DeVinne,  New  York,  1893. 


1629  — —  Pictures,  Porcelain,  etc.,  of  Mrs.  Lyne  Stephens.  Illustrated.  Royal  8vo,  half  calf, 
gilt  top. 


London,  1895. 

1630  —  Collection  de  M.  D.  de  G.  4to,  half  brown  levant  morocco,  gilt  top,  uncut  edges. 

Paris,  1896. 


1631 - Collection  Ploquin.  Illustrated.  Royal  8 vo,  paper,  uncut. 


Paris,  1896. 


1632  —  Collection  de  M.  Emile  Gavet.  Illustrated.  4to,  half  brown  morocco,  gilt  top,  uncut. 

Paris,  1897. 

1633  —  Collection  des  Goncourt.  Illustrated.  4to,  half  brown  levant  morocco,  gilt  top. 

Paris,  1897. 

1634  - Pictures  belonging  to  R.  Hall  McCormick.  1897.  Illustrated.  4to,  half  brown  levant 

morocco,  gilt  top,  uncut. 

No.  95  of  200  copies  printed,  with  plates  on  Japan  paper. 


1635 - Collection  du  Baron  Jerome  Pichon.  Imperial  8vo,  half  brown  morocco,  gilt  top,  uncut. 

Paris,  1897. 


1636  —  Cattermole  Gems ,  The . 

25  plates.  Folio,  half  red  levant  morocco,  gilt  top,  uncut. 


London,  n.  d. 


1637  —  Cellini ,  Benvenuto. 

Recherches  sur  sa  vie,  sur  son  oeuvre  et  sur  les  pieces  qui  lui  sont  attributes,  par 
Eugene  Plon.  Profusely  illustrated.  Etchings  by  Paul  Le  Rat  and  others. 
2  vols.,  4to,  red  levant  morocco,  gilt  back  and  sides,  gilt  edges. 

Paris,  1883. 

No.  70  of  100  copies,  with  plates  in  three  states. 


1638  —  Cellini ,  Benvenuto. 

Life  of.  By  J.  A.  Symonds.  With  a  portrait  and  eight  etchings  by  Laguillermie,  etc. 
2  vols.,  royal  8vo,  half  brown  levant  morocco,  gilt  top,  uncut,  by  Stikeman. 

London,  1888. 

Large  paper  copy.  No.  80  of  100  copies  printed  with  etchings  as  India  proofs. 


1639  —  Cesnola  Collection  of  Cypriote  Antiquities. 

Sculptures.  150  plates.  1885.  Terra-cottas  and  Pottery.  150  plates.  1894.  4 

vols.,  4to,  half  brown  morocco. 


Boston  and  New  York,  1885-94 


1640 — Charvet  Collection. 


La  Verrerie  Antique.  ParW.  Froehner.  34  plates,  some  beautifully  colored.  Folio, 
half  brown  morocco,  gilt  top,  uncut. 


Le  Pecq,  1879. 


1641  —  Chateau  d'A?iet. 

Histoire  et  description  de:  depuis  le  dixieme  siecle  jusqu’a  nos  jours.  Contenant 
une  etude  sur  Diane  de  Poitiers.  53  plates,  some  colored.  Folio,  half  blue 
levant  morocco,  gilt  top,  uncut. 

Paris,  1875. 


1642  —  Chevigne  (Comte')  de. 

Contes  Remois.  Precedee  de  la  Muse  Champenoise  par  Louis  Lacour.  Etchings  by 
Paul  Rajon  after  J.  Worms,  nmo,  half  green  levant  morocco,  gilt  top,  uncut. 


Paris,  ^877. 

1643  —  Child ,  Frank  S. 


An  Old  New  England  Town  [Fairfield,  Conn.]  :  Sketches  of  Life,  Scenery,  Char¬ 
acter.  Illustrated.  8vo,  half  red  morocco,  gilt  top,  uncut. 

New  York,  1895. 

Edition  de  luxe.  No.  184  of  300  copies,  with  illustrations  on  Japan  paper. 


1644 —  China. 


Punishments  of.  Illustrated  by  22  engravings,  with  explanations  in  English  and  French. 
Folio,  green  straight  grain  morocco,  gilt  edges. 


London,  1801. 


1645  —  Chintreuil ,  Antoine. 

La  Vie  et  l’CEuvre  de.  Par  A.  de  la  Fizeliere,  Champfleury,  F.  Henriet.  40 
etchings  by  Martial,  Beauverie,  Taiee,  Ad.  Lalauze,  and  others.  Folio,  half 
red  morocco,  gilt  top,  uncut. 

Paris,  1874. 

No.  9  of  50  proof  copies  printed. 


1646  —  Chippendale. 

Ornaments  and  Interior  Decorations  in  the  Old  French  Style.  5  7  plates  engraved  by 
M.  Lock.  Folio,  half  morocco. 

London,  n.  d. 

1647  —  C larky  E.  L. 

Daleth;  or,  the  Homestead  of  the  Nations.  Illustrated.  8vo,  cloth,  gilt  top,  uncut. 

Boston,  1864. 

1 648  —  Cleopatra. 

Antique  Painting  in  Encaustic  of  Cleopatra.  (By  John  Sartain.)  Illustrated. 


Royal  8vo,  cloth. 

Presentation  copy  from  the  author. 


Philadelphia,  1885. 


1649  —  Cleuziou,  Henri  de. 

De  la  Poterie  Gauloise.  Etude  sur  la  Collection  Charvet. 
half  calf  extra,  uncut. 


Illustrated.  Royal  8vo, 
Paris,  1880. 


1650  —  Collier ,  J.  Payne. 


Bibliographical  and  Critical  Account  of  the  Rarest  Books  in  the  English  Language. 
4  vols.,  i2mo,  half  blue  calf  extra,  gilt  top,  uncut. 


New  York,  1866. 


1651  —  Colonna ,  Francesco. 

Strife  of  Love  in  a  Dream.  Being  the  Elizabethan  version  of  the  first  book  of  the 
Hypnerotomachia.  Edited  by  Andrew  Lang.  Royal  8vo,  half  blue  levant 
morocco  extra,  gilt  top,  uncut. 

Nutt,  London,  1890. 

No.  45  of  60  large  paper  copies. 


1652  —  Columbus. 


Letter  of  Columbus  on  the  Discovery  of  America, 
back  and  sides,  gilt  top,  uncut. 


8vo,  blue  levant  morocco,  gilt 
New  York,  1892. 


Presentation  copy  from  the  Trustees  of  Lenox  Library. 


1653  —  Constable,  John. 

Memoirs  of  the  Life  of :  composed  chiefly  of  his  letters.  By  C.  R.  Leslie.  Fine 
mezzotint  portrait  and  22  landscapes.  Folio,  half  brown  morocco,  uncut. 


London,  1843. 

1654  —  Co?istable,  John. 


English  Landscape  Scenery.  A  series  of  40  mezzotint  engravings  on  steel,  by  D. 
Lucas,  from  pictures  painted  by  J.  Constable.  Folio,  half  red  morocco,  uncut. 

London,  1855. 

1655  —  Constantinople. 

Alt-Christliche  Baudenkmale  von  Constantinopel,  vom  V.  bis  XII.  Jahrhundert;  von 
W.  Salzenberg.  38  plates.  Imperial  folio,  boards  (loose  in  covers). 


1656  —  Conybeare  and  Howson. 

Life  and  Epistles  of  St.  Paul.  Illustrated, 
top,  uncut. 


Berlin,  1855. 


2  vols.,  8vo,  half  maroon  morocco,  gilt 

London,  1856. 


1657  —  Cooke ,  George  Fred. 

Lix'e.  By  William  Dunlap.  Portrait.  2  vols.,  8 vo,  calf  extra,  gilt  edges,  by  Tout. 

London,  1815. 


Unique  copy,  extra  illustrated  by  the  insertion  of  86  plates. 


1658  —  Cooper ,  J ames  Fem'more. 

Novels.  Illustrated  by  the  designs  of  Darley,  engraved  on  steel,  and  printed  on  India 
paper.  33  vols.,  8vo,  cloth,  gilt  top,  uncut. 

New  York,  n.  d. 

The  original  Townsend  edition  of  Cooper  is  now  so  difficult  to  procure,  that  this 
substitute  is  the  next  best  possible.  Whether  or  no  the  typography  is  better,  the 
paper  is  assuredly  an  improvement  on  the  glazed  and  tinted  surface  of  the  earlier 
edition. 

No.  490  of  1,000  copies  printed. 


1659  —  Copley ,  J .  S. 

Domestic  and  Artistic  Life  of. 
8vo,  cloth,  uncut. 


By  his  granddaughter,  Martha  B.  Amory.  Portrait. 

Boston,  1882. 


1660 — “  Cornwall ,  Barry  ”  [ Proctor ,  B.  W.~\. 

Charles  Lamb:  A  Memoir.  Portraits.  8vo,  half  calf,  gilt  top,  uncut. 

London,  1866. 


1661  —  Costumes. 

Costume  of  the  Hereditary  States  of  the  House  of  Austria.  50  colored  engravings, 
with  descriptions  and  introduction  by  B.  de  Moleville.  Translated  by  R.  C. 
Dallas,  1804.  Costume  of  China.  60  colored  engravings.  1800.  Military 
Costume  of  Turkey.  30  plates.  1818.  3  vols.,  folio,  green  straight  grain 

morocco,  back  and  sides  gold  and  blind  tooled,  gilt  edges. 

London,  1800-18. 


1662  —  Costumes. 


Modes  et  Costumes  Historiques.  Par  Pauquet  Freres, 
brown  morocco,  gilt  top,  uncut. 


96  colored  plates.  4to,  half 
Paris,  n.  d. 


1663  —  Cotman  and  Turner. 


Architectural  Antiquities  of  Normandy.  Numerous  plates, 
levant  morocco,  gilt  top,  uncut. 


2  vols.,  folio,  half  red 
London,  1822. 


1664  —  Cripps,  W.J. 


Old  English  Plate,  Ecclesiastical,  Decorative,  and  Domestic;  its  Makers  and  Marks. 
73  illustrations.  8vo,  cloth,  uncut. 


London,  1881. 


1665  —  Crouch ,  Mrs. 

Memoirs  of.  By  M.  J.  Young.  Portrait, 
gilt  top,  uncut,  by  Pratt. 


2  vols.,  post  8 vo,  sprinkled  calf  extra, 

London,  1806. 


Unique  copy,  extra  illustrated  by  the  insertion  of  100  plates. 


1666 —  Crowe  and  Cavalcaselle. 

History  of  Painting  in  Italy.  Numerous  illustrations.  3  vols.,  calf  extra,  gilt  edges, 
by  Bickers.  1864.  History  of  Painting  in  North  Italy.  Illustrated.  2  vols., 
calf  extra,  gilt  edges,  by  Bickers.  1871.  Titian,  his  Life  and  Times.  Illus¬ 
trated.  2  vols.,  half  green  calf  extra,  gilt  top,  uncut.  1877.  Together, 
7  vols.,  8vo.  (Will  be  sold  separately.) 

London,  1864-77. 

1667  —  Cundall ,  Joseph  (editor). 

On  Bookbindings  Ancient  and  Modern.  28  plates.  4to,  half  brown  morocco,  gilt  top. 


London,  1881. 

1668  —  Custis,  G.  W.  P. 

Recollections  and  Private  Memoirs  of  Washington.  Memoir  of  the  author  by  his 

daughter.  Notes,  etc.,  by  B.  J.  Lossing.  Portraits,  etc.,  including  one  of 

Washington.  8vo,  half  calf  antique. 

New  York,  i860. 


1 669  —  Cyclopedia  of  Painters  and  Painting. 

Edited  by  J.  D.  Champlin  and  C.  C.  Perkins. 
4to,  half  red  morocco,  gilt  top,  uncut. 

No.  53  of  500  copies. 


Over  2,000  illustrations.  4  vols., 

New  York,  1886-87. 


1670  —  Cyclopaedia  of  Works  of  Architecture  in  Italy ,  Greece,  and  the  Levant. 


Edited  by  W.  P.  P.  Longfellow.  Profusely  illustrated, 
top,  uncut. 

No.  19  of  500  copies. 


4to,  half  red  morocco,  gilt 
New  York,  1895. 


1671  —  Daly,  Cesar. 

L’ Architecture  Privee  au  XIXs  Siecle  sous  Napoleon  III.  Nouvelles  Maisons  de 
Paris  et  des  Environs.  Numerous  plates.  3  vols.,  1864.  Motifs  Historiques 
d’ Architecture  et  de  Sculpture  d’Ornement.  Decorations  Exterieures  em- 
pruntees  a  des  Monuments  Fran^ais  du  Commencement  de  la  Renaissance  a  la 
fin  de  Louis  XVI.  Nearly  200  plates.  2  vols.  Decorations  Interieures.  200 
plates.  2  vols.,  1880.  Together,  10  vols.,  folio,  half  red  morocco,  gilt  top, 
uncut. 

Paris,  1864,  1881,  1880. 

1672  —  Dante. 


Divine  Comedy.  Illustrations  by  G.  Flaxman. 
vellum. 


no  plates.  Oblong  4to,  half 
Rome,  1802. 


1673  —  Daphnis  and  Chloe. 

Translated  from  Amyot’s  text  by  Arzel  Day.  Edited  by  Jos.  Jacobs.  Imperial  8vo, 
half  calf  extra,  gilt  top,  uncut. 


No.  45  of  60  copies  printed. 


London,  1890. 


1674  —  D’ Arbi 'ay  ( Madame )  Fanny  Burney. 

Diary  and  Letters.  Edited  by  her  niece,  Charlotte  Barrett.  Portraits.  4  vols., 
8vo,  half  calf  extra. 

London,  n.  d. 

167 5  —  D' Aunloy  (. Mme .). 

Contes  des  fees  ou  les  fees  a  la  mode.  Preface  by  M.  de  Lescure.  Frontispieces 
by  Lalauze.  2  vols.,  i2mo,  half  blue  morocco,  gilt  top,  uncut. 


1676 — D’  Ave?ines,  Prisse. 


Paris,  1881. 


L’Art  Arabe  d’apres  les  monuments  du  Kaire  depuis  le  VIIe  siecle  jusqu’a  la  fin  du 
XVIIIe.  4to,  half  red  morocco,  gilt  top,  uncut,  with  the  magnificent  plates, 
many  of  them  in  colors,  in  an  atlas,  folio  volume  (2  vols.  in  1),  blue  morocco 
extra.  Together,  2  vols. 

Paris,  1877. 

1677  —  Defoe,  Daniel. 

Life  and  Adventures  of  Robinson  Crusoe.  Portrait,  etchings,  and  engravings,  after 
Stothard.  2  vols.,  8vo,  half  morocco,  gilt  top,  uncut. 

Philadelphia,  1891. 

1678  —  De  labor  de,  Henri. 

Les  Maitres  Florentins  du  quinzieme  siecle.  30  designs  after  the  original  paintings, 
etc.,  in  the  collection  of  M.  Thiers.  Imperial  folio,  half  maroon  morocco 

extra>  Paris,  n.  d. 

One  of  50  copies,  with  plates  in  three  states — colored,  red,  and  Japanese  proofs. 


1679  —  Demoustier,  C.  A. 

Lettres  a  Emilee  sur  la  mythologie.  Preface  by  Paul  Lacroix.  Frontispieces  by 
Lalauze.  3  vols.,  12010,  half  blue  morocco,  gilt  top,  uncut  (original  covers 
bound  in). 


Paris,  1883. 


r 

1680  —  Detaille,  Edouard. 


Types  et  Uniformes:  l’Armee  Fran^aise.  Text  by  Jules  Richard.  Numerous  colored 
plates,  besides  text  illustrations.  2  vols.,  folio,  morocco  extra,  gilt  top. 


1681  —  Devi  lie,  Achille. 


Paris,  1885-89. 


Histoire  de  l’Art  de  la  Verrerie  dans  l’Antiquite.  112  colored  plates.  4to,  red  levant 
morocco,  gilt  back  and  sides,  gilt  edges. 

Paris,  1871. 


1682  —  Dibdin,  Thomas  F. 


Bibliographical,  Antiquarian,  and  Picturesque  Tour  in  France  and  Germany.  Fine 
plates.  3  vols.,  8vo,  half  maroon  calf  extra,  gilt  top,  uncut. 


London,  1829. 


1683 — Dibdin,  Thomas  F. 

Reminiscences  of  a  Literary  Life.  Portrait.  2  vols.,  8vo,  tree  calf  extra. 

London,  1836. 

Contains  the  scarce  index.  Autograph  letter  inserted.  The  Odell  copy. 

1684  —  Dickens ,  Charles. 

Works.  With  all  the  original  illustrations  by  Cruikshank,  Phiz,  and  others.  30  vols., 

royal  8vo,  half  brown  levant  morocco  extra,  gilt  top,  uncut. 

,  London,  1881-82. 

Edition  de  luxe,  only  1,000  copies  printed. 

1685  — Dircks,  Henry. 

Life,  Times,  and  Scientific  Labours  of  the  Second  Marquis  of  Worcester,  etc.  Por¬ 
trait.  8vo,  half  green  morocco,  gilt  top,  uncut. 

London,  1865. 


1686  —  Disraeli ,  Isaac. 


Curiosities  of  Literature.  Life,  etc.,  by  his  son.  Portrait.  4  vols.,  i2mo,  half  red 
calf  extra,  gilt  top,  uncut. 

Boston,  1858. 

1687  —  Dohson,  Austin. 

Horace  Walpole:  A  Memoir.  Illustrations  by  Percy  and  Leon  Moran.  Royal  8vo, 
half  brown  morocco  extra,  gilt  top,  uncut. 

New  York,  1890. 

No.  124  of  425  large  paper  copies  on  Dickinson  paper. 

1688  —  Dobson,  Austin. 

William  Hogarth.  Illustrated.  8vo,  blue  levant  morocco,  gilt  back  and  sides, 
gilt  top,  uncut. 

New  York,  1891. 

1689  —  Dobson,  W.  T. 

Classic  Poets :  their  Lives  and  their  Times,  with  the  Epics  Epitomised.  Crown 
8 vo,  cloth,  uncut. 


London,  1879. 


1690  — Doolittle  Rev.),  J. 


Social  Life  of  the  Chinese.  Over  150  illustrations.  2  vols.,  i2mo,  cloth. 

New  York,  1865. 


1691 


j Fore,  Gustave. 

Legend  of  the  Wandering  Jew.  Plates  by  Dore.  Translation  by  G.  W.  Thorn- 
bury.  Folio,  half  morocco  (loose  in  covers). 

London,  1857. 

1692  —  Doyle ,  James  E. 

Chronicle  of  England  b.c.  55-A.D.  1485.  Colored  illustrations.  4to,  cloth  extra, 
gilt  edges. 


London,  1864. 


1693 — Draper,  J.  IV. 

History  of  the  Intellectual  Development  of  Europe.  8vo,  calf,  gilt. 


1694 —  Dresser,  Christopher. 

Japan :  Its  Architecture,  Art,  and  Art  Manufactures, 
gilt  edges. 


New  York,  1863. 

Illustrated.  8vo,  tree  calf, 
London,  1882. 


1 695  —  Duplessis,  Georges. 

Histoire  de  la  gravure  en  Italie,  en  Espagne,  en  Allemagne,  dans  les  Pays-Bas,  en 
Angleterre,  et  en  France,  etc.  73  reproductions.  Royal  8vo,  half  brown 
morocco,  gilt  top,  uncut. 

Paris,  1880. 


1696  —  Durand,  John. 

Life  and  Times  of  A.  B.  Durand.  Illustrated.  4to,  cloth,  gilt  top,  uncut. 

New  York,  1894. 

One  of  100  copies  on  large  paper,  with  portraits  on  Japan  paper. 


1697  —  Diirer,  Albert,  et  ses  Dessins. 

Par  Charles  Ephrussi.  Numerous  plates.  4to,  half  brown  levant  morocco,  gilt  top, 
uncut. 

Paris,  1882. 

No.  7 1  of  100  copies  on  Holland  paper,  with  the  more  important  plates  in 
duplicate. 


1698  —  Diirer,  Albert. 

La  Vie  de  la  Sainte  Vierge  Marie,  decrite  en  vers  Latins  par  Chelidonius.  Intro¬ 
duction  de  Ch.  Ruelens.  20  wood  engravings.  4to,  half  brown  levant 
morocco,  gilt  top,  uncut. 

Utrecht,  n.  d. 

1699  —  Dutuit,  Eugene. 

Manuel  de  P Amateur  d’estampes.  Vol.  I.,  Introduction  Generale,  1884-88.  2 

vols.  Vol.  IV.,  1881.  Vol.  V.,  1882.  Vol.  VI.,  1885.  Portrait. 
Together  4  vols.  in  5,  imperial  8vo,  boards,  uncut. 

Paris,  1881-88. 

With  37  zylographic  plates  (separate). 


1700  —  Dyer,  T.  H.  (editor). 

Pompeii:  Its  History,  Buildings,  and  Antiquities.  Illustrated.  8vo,  calf,  gilt. 


London,  1871. 

1701  —  Eaton,  Daniel  E. 


Ferns  of  North  America.  Numerous  colored  plates.  2  vols.,  4to,  half  red  levant 
morocco,  gilt  top,  uncut. 


Salem,  1879-80. 


1702  —  Edersheim ,  A. 


Life  and  Times  of  Jesus  the  Messiah, 
top,  uncut. 


2  vols.,  8 vo,  half  brown  levant  morocco,  gilt 

New  York,  n.  d. 


1703  —  Edwards,  Rev.  B.  B. 

Encyclopedia  of  Religious  Knowledge.  Illustrated.  Royal  8vo,  sheep. 

Brattleboro,  1836. 

1704  —  Egypt  Exploration  Fund. 

Naukratis.  Parts  I.  and  II.,  1884-86,  by  W.  M.  F.  Petrie,  etc.  68  plates.  1886. 
Tanis.  Parts  I.  and  II.,  1883-86,  by  Petrie  and  Griffith.  28  plates. 
1889-88.  Nebesheh  (Am)  and  Defenneh  (Tahpanhes)  by  Petrie,  Murray, 
etc.  51  plates.  1888.  Bubastis  (1887-89),  by  E.  Naville.  54  plates. 
1891.  Festival  Hall  of  Osorkon  II.  in  the  Great  Temple  of  Bubastis  (1887— 
89),  by  E.  Naville.  40  plates.  1892.  Beni  Hasan,  Part  I.,  by  P.  Newberry. 
49  plates.  1893.  8  vols.  in  4,  4to,  half  maroon  levant  morocco,  gilt  top, 

uncut. 

London,  1886-93. 


1705  —  Egypt  Exploration  Fund. 

Archaeological  Reports,  1892-95.  Illustrations  and  maps.  3  vols.,  4to,  paper. 

London,  1892-95. 

1706  —  Egypt  Exploratioti  Fund.  » 

Beni  Hasan,  Part  I.,  by  P.  E.  Newberry.  49  plates.  Temple  of  Deir  el  Bahari, 
by  E.  Naville.  14  plates.  2  vols.,  4to,  boards. 

London,  1893-94. 


1707  —  Eliot,  George. 

Romola.  2  vols.,  12010,  vellum  gilt,  red  edges. 


Leipzig,  1863. 

Unique  copy,  extra  illustrated  by  the  insertion  of  70  photographs. 


1708  —  Eliot,  George. 


Romola.  Illustrations  by  Sir  F.  Leighton, 
gilt  top,  uncut. 


2  vols.,  royal  8vo,  half  brown  morocco, 

London,  1880. 


No.  517  of  1,000  copies  printed,  with  illustrations  on  India  paper. 


1709  —  Emerson,  Ralph  Waldo. 

Complete  Works.  Portrait,  etc.,  on  India  paper.  12  vols.,  8vo,  half  calf  extra, 
gilt  top,  uncut. 

Edition  de  luxe.  Only  500  printed.  No.  428. 


Cambridge,  1883-93. 


1710  —  Emerson ,  Ralph  Waldo. 


Memoir  of.  By  J.  E.  Cabot.  Portrait.  2 
top,  uncut. 

No.  428  of  500  copies  on  large  paper. 


vols.,  8vo,  half  brown  morocco,  gilt 
Cambridge,  1887. 


1711  —  Encyclopaedia  Britannica. 

A  Dictionary  of  Arts,  Sciences,  and  General  Literature.  Numerous  illustrations. 
22  vols.,  4to,  half  red  levant  morocco,  gilt  edges.  Includes  the  index. 

Boston,  1859-60. 


1712  —  English  Art  in  the  Public  Galleries  of  London. 

Upwards  of  100  illustrations.  Proofs  on  India  paper.  Folio,  morocco  extra,  gilt  top. 

London,  1888. 


1713  —  Fagan ,  Louis. 

History  of  Engraving  in  England.  Illustrated  by  100  typical  examples,  reproduced 
from  rare  and  unique  prints  in  the  British  Museum.  3  vols.,  imperial  folio, 
in  cloth  cases. 

London,  1893. 


1714  —  Fairchild,  H.  L. 


History  of  the  New  York  Academy  of  Sciences.  Portraits. 
No.  227  of  500  copies  printed  on  large  paper. 


8vo,  boards,  uncut. 
New  York,  1886. 


1715  —  Fairfax  Correspondence. 

Memoirs  of  the  Reign  of  Charles  I.  Edited  by  G.  W.  Johnson.  Portraits. 
2  vols.,  8 vo,  half  calf,  gilt  top,  uncut.  [Lettered  in  error,  “  Prescott’s 
Charles  I.”] 

London,  1848. 


1716  —  Pales,  S.  B. 


Art  Collections,  etc.  Illustrated, 
top,  uncut. 


Royal  8vo,  half  brown  levant  morocco  extra,  gilt 

New  York,  1881. 


1717  —  Family  Crests. 

Book  of.  Comprising  nearly  every  bearing,  with  its  blazonry, 
gravings  of  crests.  2  vols.,  post  8vo,  cloth,  gilt  top. 


Upwards  of  400  en- 
London,  1875. 


1718  —  Farrar ,  F.  W. 


Life  and  Work  of  St.  Paul.  Maps.  2  vols.,  8vo,  cloth. 


New  York,  n.  d. 


1719  —  Farren,  R. 

Cambridge  and  its  Neighborhood.  Drawn  and  etched  by  R.  Farren.  31  plates  on 
India  paper.  Cathedral  Cities:  Ely  and  Norwich.  Introduction  by  E.  A. 
Freeman.  35  plates.  Peterborough  with  the  Abbeys  of  Crowland  and 
Thorney.  22  plates.  3  vols.,  folio,  half  brown  morocco,  gilt  top,  uncut. 

Cambridge,  1881-88. 

The  last  two  are  artist  proof  copies. 


1720  —  Fauriel,  C.  C. 

History  of  Provencal  Poetry.  Translated  by  G.  J.  Adler.  8vo,  cloth,  uncut. 


New  York,  i860. 

1721  —  Felibien  des  Avaux. 


Plans  et  descriptions  de  deux  des  plus  belles  maisons  de  campagne  de  Pline  le  Con¬ 
sul,  etc.  5  plates.  L’ldee  du  peintre  parfait.  2  vols.  in  1,  post  8vo,  old 
calf  (rubbed). 

London,  1707. 


1722 — Fergus sony  Alexander. 

Laird  of  Lag.  8vo,  cloth,  gilt  top,  uncut  (rubbed). 


Edinburgh,  1886. 


1723  —  Fergus  son,  James. 

History  of  Architecture  in  all  Countries,  from  the  Earliest  Times  to  the  Present  Day. 
Illustrated.  2  vols.,  1865-67.  History  of  Indian  and  Eastern  Architecture. 
Illustrated.  1876.  Together,  3  vols.,  half  morocco,  gilt  top. 


London,  1865-76. 

1724  —  Fergus  son,  James. 

The  Parthenon:  An  Essay  on  the  Mode  by  which  Light  was  Introduced  into  Greek 
and  Roman  Temples.  Illustrated.  4to,  ornamental  cloth,  uncut. 

London,  1883. 


1725  —  Ficoroni,  Francesco  de’ . 

Maschere  Sceniche  e  le  Figure  Comiche  D’Antichi  Romani, 
brown  morocco. 


85  plates.  4to,  half 
Rome,  1736. 


1726  —  Field,  Alice  D. 


Palermo:  A  Christmas  Story.  5  etchings.  4to,  boards,  uncut. 
Large  paper.  Presentation  copy  from  the  author. 


New  York,  1885. 


1727  —  Fielding,  Henry. 

Works.  Edited,  with  biographical  essay,  by  Leslie  Stephen.  Illustrations  on  India 
paper,  xo  vols.,  royal  8vo,  half  green  levant  morocco  extra,  gilt  top,  uncut. 

London,  1882. 


250  copies  printed. 


1728  —  Fielding ,  Henry. 

Miscellaneous  Works.  Portrait.  4  vols.,  i2mo,  half  blue  calf. 

New  York,  1861. 


1729 — Fischbach,  Fr. 

Ornamente  der  Gewebe. 


160  plates  in  color.  Folio,  morocco  extra,  gilt  top. 


1730 — Fisher ,  Payne. 

Angler’s  Souvenir.  Engravings  by  Beckwith  and  Topham. 
gilt  top,  uncut. 


Hanau,  n.  d. 

Crown  8vo,  cloth, 
London,  1835. 


1731  —  Fisher  ana  Nichols. 

Ancient  allegorical,  historical,  and  legendary  paintings,  in  fresco,  discovered  in  the 
summer  of  1804,  on  the  walls  of  the  Chapel  of  the  Trinity  ...  at  Stratford- 
upon-Avon.  24  plates,  some  in  color.  Folio,  half  maroon  morocco,  uncut. 

London,  1838. 

The  Odell  copy. 


1732  —  Fiske,  John. 

The  Discovery  of  America.  Portrait.  4  vols.,  royal  8vo,  half  blue  levant  morocco, 
gilt  top,  uncut. 

Large  paper  copy.  No.  171  of  250  copies  printed. 


Cambridge.,  1892. 


1733  —  Fleming  and  Tibbins. 

Royal  Dictionary,  English  and  French,  etc.  2  vols.,  4to,  sheep. 

Paris,  1844,  1841. 


1734  —  Florence. 


Le  tre  porte  del  Battistero  di  San  Giovanni  di  Firenze, 
plates.  Folio,  half  red  levant  morocco,  gilt  back. 


With  all  the  fine  outline 
Firenze,  1821. 


1735  —  Florence  Gallery. 

Imperiale  e  reale  Galleria  di  Firenze.  Edited  by  L.  Bartolini,  G.  Bezzuoli,  and 
S.  Jesi.  With  all  the  famous  illustrations  by  F.  Ranalli.  6  vols.  in  5.  Folio, 
half  morocco,  uncut. 

Firenze,  1841. 

Includes  a  volume  entirely  composed  of  beautiful  steel  plate  portraits  of  the 
painters  represented. 


1 73G  —  Florence. 

Palais  de  San  Donato.  Illustrated  catalogue.  4to,  half  red  levant  morocco  extra, 
gilt  top,  uncut. 


Paris,  1880. 


1737  —  Forsyth ,  Wm. 

Life  of  Marcus  Tullius  Cicero.  Illustrations.  2  vols.,  i2mo,  half  green  calf  extra, 


gilt  top,  uncut. 

New  York,  1865. 

1738  —  Fortnum ,  C.  D.  E. 

Maiolica.  Numerous  woodcuts.  Crown  8vo,  cloth. 

London,  n.  d. 

1739  —  Foster ,  Birket. 

Pictures  of  English  Landscape  engraved  by  Dalziel.  Words  by  Tom  Taylor.  4to, 


ornamental  cloth,  gilt  edges. 

1740  —  Fox,  John. 

London,  1863. 

Book  of  Martyrs.  Portraits.  3  vols.,  royal  8vo,  cloth,  uncut. 

London,  1844. 

1741  —  Franken  and  van  der  Kellen. 

L’CEuvre  de  Jan  van  de  Velde.  Royal  8vo,  half  calf  extra,  uncut. 


1742  —  Franklin,  Benjamin. 

Paris,  1883. 

Letters  to:  from  his  Family  and  Friends.  Portraits.  Royal  8vo,  half  brown 
morocco. 


New  York,  1859. 

1743  —  Franks,  A.  W. 

Book  of  Ornamental  Glazing  Quarries.  1 12  colored  plates, 
uncut. 

8vo,  cloth,  gilt  top, 

London,  1849. 

1744  —  Freeman,  E.  A. 

History  of  Norman  Conquest  of  England.  Maps.  6  vols.,  8vo,  half  maroon  calf 


extra. 

Oxford,  1873-79. 

1745  —  Froude,  J.  A. 

History  of  England.  12  vols.,  i2mo,  cloth,  uncut. 

New  York,  1865. 

1746  —  Fuller,  George. 

Life  and  Work.  8  illustrations.  4-to,  half  vellum,  uncut. 

Boston,  1886. 

No.  134  of  300  large  paper  copies,  with  illustrations  on  Japan  paper. 

1747  —  Galton ,  Douglas . 

Observations  on  the  Construction  of  Healthy  Dwellings,  etc.  Illustrated.  8vo, 
cloth,  uncut. 


Oxford,  1880. 


1748  —  Gamier ,  Edouard. 

La  Porcelaine  tendre  de  Sevres.  50  colored  plates, 
top. 


Folio,  half  brown  morocco,  gilt 
Quantin,  Paris,  n.  d. 


1749  —  Gautier ,  T he  op  hi le. 

Emaux  et  Camees.  112  illustrations  by  Gustave  Fraipont.  i6mo,  blue  levant 
morocco,  gilt  back  and  sides,  with  mosaic  of  rose,  doubled  with  rose  morocco, 
gilt  borders,  silk  guards,  gilt  edges,  by  Marius  Michel.  Japan  paper,  half-title 
colored  by  hand. 

Paris,  1887. 

Presentation  copy  from  Marius  Michel  to  Ernest  Poisson. 


1750 — Gay,  Victor. 

Glossaire  Archeologique  du  Moyen  Age  et  de  la  Renaissance, 
brown  levant  morocco,  gilt  top. 


A-G.  4-to,  half 
Paris,  1887. 


1751  —  Gelis-Didot  and  Laffillee. 

La  Peinture  Decorative  en  France  du  XIe  au  XVIe  Siecle. 
Folio,  half  brown  morocco,  gilt  top. 


Numerous  colored  plates. 
Paris,  n.  d. 


1752 — Gell  and  Gandy. 

Pompeiana.  Topography,  edifices,  and  ornaments  of  Pompeii.  77  steel  plates, 
besides  maps,  plans,  etc.  Royal  8vo,  half  morocco,  gilt  top,  uncut. 


London,  1852. 

1753  —  Godman  Collection  Catalogue. 


Thirteenth  century  lustred  vases  and  wall  tiles.  By  Henry  Wallis.  Illustrated. 
2  vols.,  4to,  half  brown  levant  morocco,  gilt  top,  uncut. 


Nos.  63  and  48  of  200  copies  privately  printed. 


London,  1891-94. 


1754 —  Goethe. 


Faust.  Translated  into  English  verse  by  Sir  Theodore  Martin.  2  vols.,  i2mo, 
blue  levant  morocco,  gilt  fillets,  doubled  with  satin,  satin  guards,  gilt  edges, 
by  Zaehnsdorf. 

London,  1886. 


1755 — Gonse,  Louis  (editor). 

L’Art  ancien  [et  moderne]  a  PExposition  de  1878.  Par  Mm.  Ed.  de  Beaumont, 
Th.  Biais,  and  others.  Illustrated.  2  vols.,  folio,  half  red  morocco,  gilt  top, 
uncut. 

Paris,  1879. 


1756  —  Gonse,  Louis. 

L’Art  Japonais.  Numerous  full-page  and  text  illustrations,  some  in  colors.  2  vols., 
4to,  red  levant  morocco,  gilt  back  and  sides,  gilt  edges. 


Printed  on  vellum  paper. 


Paris,  1883. 


1757  —  Gonse,  Louis . 


Sculpture  fran^aise  depuis  le  XIVe  siecle.  Numerous  illustrations.  Folio,  cloth, 
gilt  top,  uncut. 

Paris,  1895. 

1758 — Gonse ,  Louis. 

L’Art  Gothique:  L’ Architecture.  La  Peinture.  La  Sculpture.  Le  Decor.  Nu¬ 
merous  illustrations.  4to,  ornamental  cloth,  gilt  top,  uncut. 

Paris,  n.  d. 

1759  —  Gower,  Lord  Ronald  (editor). 

Historic  Galleries  of  England.  132  photographs.  4  vols.,  folio,  cloth,  gilt  edges 
(loose  in  covers). 

London,  1881-84. 


1760  —  Grafton  Galleries. 

Fair  Women.  Reproductions  by  the  collotype  process  of  some  of  the  principal  works 
exhibited  at  the  Grafton  Galleries  in  1894.  Photographs  by  H.  H.  H. 
Cameron.  Folio,  cloth,  gilt  top,  uncut. 

London,  1894. 

No.  23  of  50  copies  printed. 


1761  —  Grammont  ( Count) . 

Memoirs  of.  By  A.  Hamilton.  Edited,  with  notes,  by  Sir  Walter  Scott.  Portrait 
and  33  etchings  by  Delort.  Proofs  on  India  paper.  Royal  8vo,  cloth,  uncut. 


No.  685  of  780  copies  printed. 


London,  1889. 


1762  —  Gray ,  Thomas. 

Works  in  Prose  and  Verse.  Edited  by  Edmund  Gosse. 
half  calf,  gilt  top,  uncut. 


Portrait.  4  vols.,  i2mo, 
New  York,  1885. 


1763  —  Great  Artists. 

Biographies  of  Rubens,  Diirer,  Titian,  Rembrandt,  Holbein,  Murillo,  Van  Dyck, 
Claude,  Lawrence,  Turner,  Wilkie,  etc.  Illustrated.  Together,  29  vols., 
i2mo,  cloth. 

New  York,  1880-87. 


1764 — Great  Discourse  of  Jesus  the  Christ ,  the  Son  of  God. 

By  a  Layman.  4to,  half  brown  morocco,  gilt  top,  uncut. 
No.  21  of  125  large  paper  copies. 


New  York,  n.  d. 


1765  —  Greau,  Julien. 

Collection.  Terres  Cuites  Grecques,  etc.  Plates,  some  colored.  4to,  red  levant 
morocco,  gilt,  gilt  top,  uncut. 


Paris,  1891. 


London,  1881. 


1766  —  Green,  J.  R. 

Making  of  England.  Maps.  8vo,  cloth,  uncut. 


1767  —  Griswold,  R.  W. 


Republican  Court,  or  American  Society  in  the  Days  of  Washington.  21  steel  por¬ 
traits.  Royal  8 vo,  brown  morocco  extra,  gilt  edges. 

New  York,  1856. 


Grolier  Club  Publications . 

1768 —  A  Decree  of  Star  Chamber  concerning  Printing. 

Made  July  11,  1637.  Reprinted  by  the  Grolier  Club,  from  the  first  edi¬ 
tion,  by  Robert  Barker,  1637.  8vo,  brown  levant  morocco,  gilt  top,  uncut. 

New  York,  1884. 

The  first  book  printed  by  the  Grolier  Club.  No.  73  of  150  copies  printed. 

1769 —  Transactions  of  the  Grolier  Club. 

From  January,  1884,  to  July,  1885.  Part  I.  8vo,  half  orange  levant  mo¬ 
rocco,  gilt  top,  uncut. 

New  York,  1885. 

1770 —  De  Vinne ,  Theodore  L. 

Historic  Printing  Types.  A  lecture  read  before  the  Club,  January  25,  1885. 
With  additions  and  new  illustrations.  4to,  half  red  levant  morocco,  gilt  top, 
uncut. 

New  York,  1886. 

200  copies  printed  on  Holland  paper. 

1771 —  Hoe ,  Robert. 

A  Lecture  on  Bookbinding  as  a  Fine  Art,  delivered  before  the  Grolier  Club, 
February  26,  1885.  With  63  illustrations.  4to,  parti-colored  levant  morocco, 
gilt  top,  uncut. 

New  York,  1886. 

200  copies  printed. 

1772 —  Irving ,  IV ashington. 

A  History  of  New  York  from  the  Beginning  of  the  World  to  the  End  of  the 
Dutch  Dynasty,  etc.  By  Diedrich  Knickerbocker.  With  unpublished  cor¬ 
rections  of  the  author,  illustrations  by  G.  Boughton,  W.  H.  Drake,  and  H. 
Pyle,  and  etchings  by  H.  C.  Eno  and  F.  Raubicheck.  2  vols.,  8vo,  blue 
morocco  Janseniste,  inside  borders  and  satin  panels,  gilt  top,  uncut. 

New  York,  1886. 

175  copies  printed  on  Holland  paper. 

1773 —  Reade ,  Charles. 

Peg  Woffington.  Headbands,  initials,  and  tail  pieces  designed  by  C.  M. 
Jenckes.  2  vols.,  i6mo,  brown  levant  morocco,  gilt  top,  uncut. 

New  York,  1887. 

250  copies  printed  on  Holland  paper. 


1774 —  Constitution ,  By-laws ,  Reports ,  etc. 

1887  and  1889—1892,  1896-1901  inclusive,  with  a  duplicate  of  1897.  House 
rules,  1893-95.  15  vols.,  i6mo,  half  calf,  gilt  top,  uncut.  (3  vols.  in 

boards. ) 

New  York,  1887-1901. 

1775 —  De  Vinne ,  Theodore  L. 


Christopher  Plantin  and  the  Plantin-Moretus  Museum  at  Antwerp.  With 
illustrations  by  J.  Pennell  and  others.  Royal  8vo,  olive  morocco,  Janseniste, 
gilt  top,  uncut. 


300  copies  printed. 


New  York,  1888. 


1776 — Matthews ,  William. 

Modern  Bookbinding  Practically  Considered, 
rocco,  gilt,  gilt  top,  uncut. 

300  copies  printed  on  Holland  paper. 


Plates.  4to,  blue  levant  mo- 
New  York,  1889. 


1777 —  Richard  De  Bury. 

Philobiblon,  Ricardi  de  Bury.  Ex  Optimis  Codicibus  Recensuit,  Versione 
Anglica  .  .  .  Andreas  Fleming  West.  Frontispieces.  3  vols.,  4to, 

brown  morocco,  gilt  top,  uncut. 

New  York,  1889. 

297  copies  printed. 

1778 —  Milton ,  John. 

Areopagitica.  A  Speech  for  the  Liberty  of  Unlicensed  Printing,  to  the  Parlia¬ 
ment  of  England.  With  an  Introduction  by  James  Russell  Lowell.  Etched 
portraits.  l2mo,  blue  levant  morocco,  gilt  top,  uncut. 

New  York,  1890. 

325  copies  printed  on  Holland  paper. 

1779 —  Curtis ,  George  W. 

Washington  Irving:  A  Sketch.  8vo,  original  red  morocco,  gilt  top,  uncut, 
by  Stikeman. 

New  York,  1891. 

344  copies  printed. 

1780 —  Catalogue  of  an  Exhibition  of  Engraved  Portraits. 

Including  the  Effigies  of  the  most  Famous  English  Writers,  from  Chaucer  to 
Johnson.  Portraits.  8vo,  blue  levant  morocco,  gilt,  gilt  top,  uncut. 

New  York,  1891. 

One  of  200  large  paper  copies  printed. 


1781 — Exhibitions. 

The  Fan  in  all  Ages.  1891.  Engraved  Portraits:  being  the  Effigies  of  the 
most  Famous  English  Writers  from  Chaucer  to  Johnson.  1891.  Catalogue 
of  Line  Engravings.  1892.  Catalogue  of  Portraits  Engraved  by  W.  Faithorne. 
1893.  Brief  Hand-list  of  Original  and  Early  Editions  (Langland  to  Wither). 
1893.  Chronological  Hand-list  of  Various  Editions  of  the  Complete  Angler. 
1893.  6  vols.  in  1,  i6mo,  half  blue  levant  morocco,  gilt  top,  uncut. 

New  York,  1891-93. 


1782 — Exhibitions. 

Bookbindings  (1860-1890).  1891.  Chronological  List  of  Works  of 

Tennyson.  1897.  Plans  and  Views  of  New  York  City  (1651-1860). 
1897.  3  vols.  in  1,  i6mo,  half  calf,  gilt  top,  uncut. 

New  York,  1891-1897. 


1783 — Conway ,  Moncure  D. 

Barons  of  the  Potomack  and  the  Rappahannock.  Portraits,  facsimiles,  and  illus¬ 

trations.  8vo,  blue  levant  morocco,  gilt,  gilt  top. 

New  York,  1892. 

360  copies  printed  on  Italian  hand-made  paper. 


1784 —  Catalogue  of  Original  and  Early  Editions  of  some  of  the  Poetical  and  Prose  Works 
of  English  Writers,  from  Langland  to  Wither. 

With  Collations  and  Notes,  and  87  Facsimiles  of  Title-pages  and  Frontis¬ 
pieces:  being  a  contribution  to  the  Bibliography  of  English  Literature.  Royal 
8vo,  half  blue  levant  morocco,  gilt  top,  uncut. 

New  York,  1893. 

400  copies  printed  on  Holland  paper. 

1785 —  Exhibitions. 

Catalogue  of  Books  printed  by  William  Bradford,  etc.,  1893.  Commercial 
Bookbindings.  1894.  Classified  List  of  Early  American  Book-plates,  etc.,  by 
C.  D.  Allen.  1894.  3  vols.  in  1,  i6mo,  half  blue  levant  morocco,  gilt  top, 

uncut. 

New  York,  1893-94. 

1786 —  Facsimile  of  the  Laws  and  Acts  of  the  General  Assembly  for  their  Majesties  Province 
of  New  York,  at  New  York,  William  Bradford,  I  fogy. 

Edited  by  R.  L.  Fowler.  Folio,  brown  levant  morocco,  gilt,  gilt  top,  uncut. 

New  York,  1894. 

312  copies  printed. 


1787 —  Allen,  C.  D. 

A  Classified  List  of  Early  American  Book-plates.  Illustrations.  8vo,  half 

brown  morocco,  gilt  top,  uncut  (original  paper  wrappers  bound  in). 

New  York,  1894. 

One  of  350  large  paper  copies  printed  on  Italian  hand-made  paper. 

1788 —  Transactions  of  the  Grolier  Club  of  the  City  of  New  York. 

From  July,  1885,  to  February,  1894.  Part  II.  Illustrations.  4to,  half 

brown  levant  morocco,  gilt  top,  uncut. 

New  York,  1894. 

750  copies  printed. 


1789 — Catalogues  of  Exhibitions. 

Early  Printed  Books.  Tennyson.  Plans  and  Views  of  New  York  City. 
Titles  and  Frontispieces.  Meryon’s  Etchings  and  Drawings.  English  Liter¬ 
ary  Portraits.  Sketch  of  Saint-Memin.  Early  English  Bookbindings. 
Chaucer.  Portraits  of  George  Washington.  Portraits  of  Women  Writers. 
Engravings  of  F.  Gaillard  (3).  Mosaic  Bookbindings.  15  vols.,  i6mo, 
paper,  uncut. 


New  York,  1894-1902. 


1790 —  Description  of  the  Early  Printed  Books  owned  by  the  Grolier  Club. 

With  a  brief  account  of  their  printers  and  the  history  of  typography  in  the 
fifteenth  century.  Illustrations.  Folio,  brown  levant  morocco,  gilt  top,  uncut. 

New  York,  1895. 

400  copies  printed. 

1791 —  The  Poems  of  John  Donne. 

From  the  text  of  the  edition  of  1633,  revised  by  James  Russell  Lowell,  with 
the  various  readings  of  the  other  editions  of  the  seventeenth  century,  and  with 
a  preface,  an  introduction,  and  notes  by  Charles  Eliot  Norton.  Portrait  etched 
by  S.  J.  Ferris.  2  vols.,  i2mo,  brown  morocco,  gilt  top,  uncut. 

New  York,  1895. 

380  copies  printed. 

1792 —  Catalogue  of  Books  from  the  Libraries  or  Collections  of  Celebrated  Bibliophiles  and 
Illustrious  Persons  of  the  Past. 

With  arms  or  devices  upon  the  bindings.  Plates.  Small  4to,  half  brown 
morocco,  gilt  top,  uncut. 

New  York,  1895. 

Only  350  copies  printed  on  Holland  paper. 

1793 —  Catalogue  of  the  Engraved  Work  of  Asher  B.  Durand. 

Exhibited  at  the  Grolier  Club,  April,  1895.  i6mo,  half  brown  morocco,  gilt 
top  uncut  (original  covers  bound  in). 

New  York,  1895. 

1794 —  Another  copy. 

On  large  paper,  with  portrait.  8vo,  half  brown  morocco,  gilt  top,  uncut 
(original  covers  bound  in). 

350  copies  printed. 

1795 —  Exhibitions. 

Catalogue  of  an  Exhibition  Illustrative  of  a  Centenary  of  Artistic  Lithography 
(1796-1896).  1896.  Engraved  Portraits  of  French  Authors.  1895.  En¬ 

graved  Portraits  of  Women  Writers  from  Sappho  to  George  Eliot.  1895. 
Japanese  Prints.  1896.  4  vols.  in  1,  i6mo,  half  calf,  gilt  top,  uncut. 

New  York,  1895-96. 

1796 —  Catalogue  of  an  Exhibition  Illustrative  of  a  Centenary  of  Artistic  Lithography, 
1796-1896. 

With  244  examples  by  160  different  artists.  Illustrated  with  20  photo-engrav¬ 
ings  from  the  originals.  8vo,  brown  levant  morocco,  gilt  top,  uncut  (original 
covers  bound  in). 

New  York,  1896. 

Large  paper.  Only  400  copies  printed. 

1797 —  Warren ,  Arthur. 

The  Charles  Whittingham  s,  Printers.  Portraits  and  illustrations.  8vo,  brown 
levant  morocco,  gilt  top,  uncut. 

New  York,  1896. 

Only  385  copies  printed. 


1798 —  A  Chronological  Catalogue  of  the  Engravings ,  Dry-Points ,  and  Etchings  of  Albert 
Dilrer ,  as  exhibited  at  the  Grolier  Club. 

Compiled  by  S.  R.  Koehler.  Small  folio,  cloth,  uncut. 

New  York,  1897. 

400  copies  on  Holland  paper. 

1799 —  Two  Note-Books  of  Thomas  Carlyle. 

From  23d  March,  1822,  to  16th  May,  1832.  Edited  by  Charles  Eliot 
Norton.  Portrait.  Small  8vo,  half  morocco,  gilt  top,  uncut. 

New  York,  1898. 

Only  387  copies  printed. 

1800 —  Exhibitions. 

Catalogue  of  Etchings  and  Drawings  by  Charles  Meryon,  1898.  Engraved 
Titles  and  Frontispieces  Published  in  England  during  the  Sixteenth  and  Seven¬ 
teenth  Centuries,  1898.  English  Literary  Portraits,  1898.  3  vols.  in  1, 

i6mo,  half  calf,  gilt  top,  uncut. 

New  York,  1898. 

1801 —  The  Life  of  Charles  Henry ,  Count  Hoym ,  Eminent  French  Bibliophile ,  1684— I J36. 
Written  by  Baron  Jerome  Pichon.  Translated  into  English  for  the  Grolier 
Club,  with  a  Sketch  of  the  Life  of  the  late  Baron  Pichon.  Illustrations.  Royal 
8vo,  half  morocco,  brocaded  silk  sides,  uncut. 

New  York,  1899. 

303  copies  printed. 

1802 —  Transactions  of  the  Grolier  Club  of  the  City  of  New  York ,  from  February ,  l8gp 
to  July ,  i8g<p. 

Part  III.  View  of  the  club  house,  etc.  4to,  half  maroon  levant  morocco, 
gilt  top,  uncut. 

New  York,  1899. 

470  copies  printed. 

1803 —  Exhibitions. 

Sketch  of  the  Life  of  Charles  Balthazar  Julien  Ferret  de  Saint  Memin,  1899. 
Engraved  and  Other  Portraits  o^  Lincoln,  1899,  Original  Editions  of  the 
Works  of  Edmund  Spenser,  1899.  Decorated  Early  English  Bookbindings, 
1899  (2  copies).  5  vols.  in  1,  i6mo,  half  calf,  gilt  top,  uncut. 

New  York,  1899. 

1804 —  A  Translation  of  Giovanni  Boccaccio’ s  Life  of  Dante. 

With  an  introduction  and  a  note  on  the  portraits  of  Dante.  By  G.  R.  Car¬ 
penter.  Portrait.  Small  4to,  emblematic  board  covers,  uncut,  in  slip  case. 

New  York,  1900. 

Only  300  copies  printed  on  Italian  hand-made  paper. 

1805 —  Catalogue  of  Etchings  and  Dry-Points  by  Rembrandt. 

Selected  for  exhibition  at  the  Grolier  Club  of  the  City  of  New  York,  April— 
May,  1900.  Etched  portrait.  Small  4to,  cloth,  uncut. 

New  York,  1900. 

310  copies  printed. 


1806 —  Catalogue  of  an  Exhibition  of  First  and  Other  Editions  of  the  Works  of  John 
Dryden  (1631-1700). 

Together  with  a  few  engraved  portraits  and  two  oil  paintings.  Commemora¬ 
tive  of  the  200th  anniversary  of  his  death.  Small  8vo,  paper,  uncut. 

New  York,  1900. 

1807 —  Exhibitions. 

Engraved  Portraits  of  Washington,  1900.  Original  and  Other  Editions,  Por¬ 
traits  and  Prints,  Commemorative  of  the  500th  Anniversary  of  the  Death  of 
Chaucer,  1900.  First  and  Other  Editions  of  the  Works  of  John  Dryden, 
1900.  3  vols.  in  1,  i6mo,  half  calf,  gilt  top,  uncut. 

New  York,  1900. 

1808 —  De  Vinne ,  Theodore  Low. 

Title-pages  as  Seen  by  a  Printer.  With  numerous  illustrations  in  facsimile. 
And  some  observations  on  the  early  and  recent  printing  of  books.  Svo,  half 

morocco,  uncut,  in  slip  case. 

■  New  York,  1901. 

325  copies  printed  on  Italian  hand-made  paper. 


1809 — Catalogue  of  an  Exhibition  of  Selected  Works  of  the  Poets  Laureate  of  England. 

i6mo,  paper,  uncut. 


New  York,  1901. 


1810 — Another  copy. 

On  large  paper,  with  portrait  of  Jonson  engraved  by  S.  A.  Edwards.  8vo, 
boards,  uncut. 

300  copies  printed. 


1811  —  Gross,  S.  E. 

Merchant  Prince  of  Cornville.  4to,  cloth,  gilt  top,  uncut 


Cambridge,  1896. 
Privately  printed.  The  source  of  Rostand’s  “  Cyrano  de  Bergerac  ”  ! 


1812  —  Gruner  and  Lose. 

Terra-cotta  Architecture  of  North  Italy,  XII. -XV.  centuries.  48  illustrations 
in  colors,  woodcut  sections,  etc.  4to,  half  morocco,  gilt  top. 

London,  1867. 


1813  —  Guiffrey,  Jules. 


Histoire  de  la  Tapisserie  depuis  le  Moyen  Age  jusqu’a  nos  jours.  Colored  frontispiece 
and  numerous  other  illustrations.  Royal  8vo,  half  red  levant  morocco  extra, 
gilt  top,  uncut. 


T  oiirc 


J814 — “  Hackle ,  Palmer ”  [ R .  Blakey\. 

Hints  on  Angling.  (France  and  Belgium.)  8vo,  cloth,  uncut. 


London,  1846. 


1815  —  Hague  Museum. 


Das  Konigliche  Museum  im  Haag.  134  superb  photographs  from  the  original  paint- 
ings.  3  vols.,  imperial  folio,  half  morocco  extra. 


Munchen,  n.  d. 


1816  —  Halevy,  Ludovic. 

L’Abbe  Constantin.  Etchings  by  Mme.  Madeleine  Lemaire.  4to,  brown  levant 
morocco,  back  and  sides  ornamented  with  interlaced  fillets,  doubled  with  black 
morocco,  gold  borders  after  the  manner  of  Gerome,  morocco  guards,  with  bor¬ 
ders,  gilt  top,  uncut  edges,  by  Zaehnsdorf. 

Paris,  1887. 

No.  29  of  50  Japan  paper  copies,  with  plates  in  four  states,  on  satin,  in  blue,  bistre, 
and  the  regular  series,  and  an  original  water  color  designed  (signed)  on  the  false  title. 


1817  —  Hall,  S.  C.  (editor). 

Baronial  Halls  (The)  and  Ancient  Picturesque  Edifices  of  England.  Colored  plates 
after  J.  D.  Harding,  G.  Cattermole,  S.  Prout,  W.  Muller,  J.  Holland,  etc. 
2  vols.,  folio,  in  half  brown  morocco  wrappers. 

New  York,  n.  d. 


1818 — Hals,  Frans. 


Eaux-fortes  de.  ParW.  Unger.  20  fine  etchings,  the  best  examples  of  Hals’s  works. 
Study  of  the  master  and  his  works  by  C.  Vosmaer.  Folio,  red  morocco  extra. 


Proof  copy. 


Leyden,  1873. 


1819  —  Ha??ierton,  Philip  Gilbert. 

Etching  and  Etchers.  Third  edition,  enlarged  and  improved.  Illustrated  with  48 
full-page  etchings  after  the  most  famous  masters.  Folio,  half  green  morocco, 
gilt  top,  uncut. 

London,  1880. 


1820 — Hatnerton,  P.  G. 


The  Graphic  Arts:  A  Treatise  on  the  Varieties  of  Drawing,  Painting,  and  Engraving. 
54  illustrations.  4to,  parchment,  gilt  top,  uncut. 


London,  1882. 


1821  —  Hamerton,  P.  G. 

Landscape.  Illustrated  with  original  etchings  by  Parrish,  Lalanne,  Slocombe,  Hardy, 
Pennell,  and  others,  and  line  and  mezzotint  engravings  after  Turner,  Corot, 
Linnell,  Landseer,  Cox,  Hunt,  and  others.  Folio,  vellum,  gilt,  uncut. 

London,  1885. 

Large  paper  copy. 


1822  —  Hamerton,  P.  G. 

Man  in  Art.  Illustrated  with  46  fine  etchings,  mezzotints,  etc.  Folio,  cloth,  uncut. 

London,  1892. 


FOURTH  AND  LAST  EVENING'S  SALE 


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1823  —  Hamerton ,  P.  G. 

Present  State  of  the  Fine  Arts  in  France.  Numerous  illustrations,  including  7  etch¬ 
ings  by  Mile.  Poynot,  H.  Manesse,  B.  Damman,  P.  A.  Masse,  and  H. 
Toussaint.  Folio,  cloth,  gilt  edges. 

London,  1892. 


1824  —  Hamilton  Palace  Collection. 

Illustrated  and  priced  Catalogue.  4to,  cloth,  uncut. 


London,  1882. 


1825  —  Harrisse ,  Henry. 


Discovery  of  North  America.  Maps.  4to,  half  brown  morocco,  gilt  top,  uncut. 

London,  1892. 


No.  22  of  40  copies  printed  on  Dutch  paper. 


1826  —  Havard,  Henry. 

La  Hollande  a  vol  d’oiseau.  Numerous  etchings  and  woodcuts  by  M.  Lalanne. 
Imperial  8vo,  maroon  levant  morocco,  gilt  and  blue  mosaic  back  and  sides, 
inside  borders,  gilt  edges. 


Paris,  1882. 


1827- — Hazard,  Henry. 

La  Flandre  a  vol  d’oiseau.  Numerous  etchings  after  nature  by  Maxime  Lalanne. 
Imperial  8vo,  brown  levant  morocco,  gilt  back  and  sides,  inside  borders,  gilt 
edges. 

Paris,  1883. 

No.  47  of  100  copies  on  Holland  paper,  with  a  second  set  of  illustrations,  proofs 
on  India  paper. 


1828  —  Havard,  Henry. 


L’Art  dans  la  Maison  (Grammaire  de  rAmeublement).  52  full-page  plates  and  many 
text  illustrations.  Folio,  half  brown  levant  morocco  extra,  gilt  top,  uncut. 

Paris,  1884. 


100  copies  printed,  with  an  extra  set  of  proofs. 


1829  —  Another  Copy. 

4to,  half  maroon  levant  morocco,  gilt  top,  uncut. 

No.  87  of  100  copies  printed  on  papier  verge. 


1830  —  Havard  and  Vachon. 

Les  Manufactures  Nationales:  Les  Gobelins,  La  Savonnerie,  Sevres,  Beauvais.  Pro¬ 
fusely  illustrated.  Imperial  8vo,  half  red  morocco,  gilt  top,  uncut. 

Paris,  1889. 

1831  —  Havard,  H „ 

Dictionnaire  de  1’ Ameublement  et  de  la  Decoration  depuis  le  XIIIe  siecle  jusqu’a  nos 
jours.  256  plates,  some  colored,  and  over  2,500  engravings  in  the  text.  4 
vols.,  folio,  half  red  levant  morocco  extra,  gilt  top,  uncut. 

Paris,  n.  d. 

1832  —  Hawkins,  Rush  C. 

Titles  of  the  First  Books  from  the  Earliest  Presses  established  in  different  Cities, 
Towns,  and  Monasteries  in  Europe,  before  the  end  of  the  Fifteenth  Century, 
with  Brief  Notes  upon  their  Printers.  Illustrated  with  reproductions  of  early 
types  and  first  engravings  of  the  printing-press.  4to,  cloth,  uncut. 

New  York,  1884. 

No.  5  of  300  copies. 


1833  —  Hawthorne ,  Julian. 

Nathaniel  Hawthorne  and  His  Wife.  Illustrated.  2  vols.,  i2mo,  cloth,  gilt  top. 

Boston,  1885. 


1834  —  Hawthorne,  Nathaniel. 

Complete  Works.  Portraits,  etc.,  on  India  paper.  12  vols.,  8vo,  half  red  levant 
morocco,  gilt  top,  uncut. 

Edition  de  luxe.  No.  76  of  250  copies  printed. 


Cambridge,  1883-84. 


London,  1863. 


1835  —  Haydn ,  Joseph. 

Dictionary  of  Dates.  8vo,  cloth,  uncut. 


1836  —  Hay  don,  Benjamin  Robert. 

Correspondence  and  Table  Talk,  with  a  Memoir  by  his  son,  F.  W.  Haydon.  Illus¬ 
trated.  2  vols.,  8vo,  cloth,  uncut.  (Vol.  I.  loose  in  covers.) 

London,  1876. 


1837  —  Hazlitt,  JV.  C. 


Gleanings  in  Old  Garden  Literature, 
uncut. 


Crown  8vo,  half  brown  morocco,  gilt  top, 

London,  1887. 


1838  —  Hefner- A Iteneck,  J.  H.  von. 

Serrurerie  ou  les  ouvrages  en  fer  forge  du  Moyen  Age  et  de  la  Renaissance.  Translated 
into  French  by  D.  Ramee.  84  plates.  4to,  half  brown  morocco,  gilt  top, 
uncut. 

Paris,  1870. 


1839  —  Hefner-Alteneck,  J.  H.  von. 

Original-Zeichnungen  deutscher  Meister  des  i6ten  Jahrhunderts,  etc 
(minus  11).  Folio,  unbound,  inboard  wrappers. 


Plates  1-18 


Frankfurt,  1889. 


1840  —  Heiss ,  A loiss. 

Les  Medailleurs  de  la  Renaissance.  Venise  et  les  Venitiens  du  XVe  au  XVII6  siecle. 
1887.  Numerous  illustrations.  Florence  et  la  Toscane  sous  les  Medicis. 
1892.  2  vols.,  4to,  half  levant  morocco  (not  uniform),  gilt  top,  uncut. 

Paris,  1887-92. 


1841  —  Helps,  Arthur. 


Friends 


in  Council:  A  Series  of  Readings,  and  Discourse  Thereon.  2  vols.,  post 
8vo,  blue  straight  grain  morocco,  gilt,  gilt  edges. 

London,  1854. 


1842  —  Helps,  Arthur. 

Companions  of  my  Solitude.  Post  8vo,  calf,  gilt. 


London,  1854. 


1843  —  Henley,  IV.  E.  (editor). 

Century  of  Artists:  A  Memorial  of  the  Glasgow  International  Exhibition.  1888. 
Descriptions  of  pictures  by  R.  Walker.  Numerous  illustrations.  Folio, 
buckram,  gilt  top,  uncut. 

Glasgow,  1889. 

No.  124  of  215  large  paper  copies,  with  proofs  on  Japan  paper. 


1844  —  Henley ,  W.  E.  (editor). 

Lyra  Heroica:  A  Book  of  Verse  for  Boys, 
sides,  gilt  top,  uncut. 

No.  33  of  ioo  large  paper  copies. 


8vo,  blue  levant  morocco,  gilt  back  and 

London,  1892. 


1845  —  Henry,  Patrick. 

Life,  Correspondence,  and  Speeches.  By  W.  W.  Henry, 
cloth,  gilt  top,  uncut. 

Limited  edition. 


Portrait.  3  vols.,  8vo, 
New  York,  1891. 


1846 — Herbert,  George. 

Works.  Portrait,  etc.  2  vols.,  post  8vo,  half  blue  calf  extra,  gilt  top,  uncut. 

Pickering,  London,  1848-57. 


1847  —  Heuzey,  Leon. 

Les  figurines  antiques  de  terre  cuite  du  Musee  du  Louvre, 
levant  morocco  extra,  gilt  top,  uncut. 


56  plates.  4to,  half  red 
Paris,  1883. 


1848  —  Hill,  George  B. 


Footsteps  of  Dr.  Johnson, 
gilt  top,  uncut. 


Portrait  and  illustrations. 


Large  paper  copy. 


4to,  half  brown  morocco, 
London,  1890. 


1849  —  Hipkins,  A.  J. 

Musical  Instruments,  Historic,  Rare,  and  Unique. 
Folio,  half  red  levant  morocco,  gilt  edges 

1,040  copies  printed. 


50  plates  in  colors,  by  W.  Gibb. 

Edinburgh,  1888. 


1850  —  Hodgkin,  J.  E.  and  Edith. 

Examples  of  Early  English  Pottery,  Named,  Dated,  and  Inscribed, 
cloth,  gilt  top. 

No.  259  of  500  copies  printed. 


Illustrated.  4to, 
London,  1881. 


1851  —  Hoffmann,  E.  T.  A. 

Contes  Fantastiques  tires  des  freres  de  Serapion  et  des  contes  nocturnes.  Traduc¬ 
tion  de  Loeve-Veimars.  Preface  by  G.  Brunet.  11  etchings  by  Lalauze. 
2  vols.,  i2mo,  half  red  levant  morocco,  gilt  top,  uncut. 

Paris,  1883. 

Holland  paper  copy. 


1852  —  Hoffman,  H. 


Collection:  Catalogue  des  antiquites  Egyptiennes  redige  par  Georges  Legrain.  48 
plates.  4to,  half  calf  extra,  gilt  top,  uncut. 

Paris,  1894. 


1853  —  Hofland,  T.  C. 


British  Anglers’  Manual, 
uncut. 


Edited  by  E.  Jesse.  Engravings.  Crown  8vo,  cloth, 

London,  1848. 


1854  —  Holbein,  Hans. 

Portraits  of  the  Court  of  Henry  VIII.  With  Memoirs  by  E.  Lodge.  83  colored 
portraits  by  Bartolozzi.  Folio,  half  red  morocco,  gilt  edges. 

London,  1812. 


1855  —  Holbein,  Hans  (at  Windsor ). 

Portraits  of  Illustrious  Personages  of  the  Court  of  Henry  VIII.  Historical  introduc¬ 
tion  by  R.  R.  Holmes.  54  plates  on  Japan  paper.  Folio,  half  vellum,  gilt, 
gilt  top,  uncut. 

London,  Munich,  n.  d. 


1856 — Holbein,  Ha?is. 

Par  P.  Mantz.,  Numerous  illustrations.  Folio,  half  red  levant  morocco,  gilt  top. 

Quantin,  Paris,  1879. 


1857  —  Holbein,  Hans. 


Dessins  d’ornaments  de.  Text  by  E.  His. 
morocco,  gilt  top,  uncut. 


51  fine  plates. 


Holland  paper  copy.  No.  184  of  250  copies. 


Folio,  half  brown 
Paris,  1886 


1858  —  Holbein. 

Hans  Holbein’s  des  Aelteren  Silberstift-Zeichnungen  im  Koniglichen  Museum  zu 
Berlin.  Reproductions  of  82  works  by  A.  Frisch.  Text  by  Dr.  A.  Wolt- 
mann.  Folio,  half  red  morocco,  gilt  and  mosaic  back,  gilt  top,  uncut. 

Nuremberg,  n.  d. 


1859  —  Homer. 


Iliad. 


Rendered  into  English  blank  verse  by  Edward,  Earl  of  Derby.  2  vols.,  i2mo, 
cloth. 

New  York,  1865. 


1860  —  Hood,  Thomas. 

Works.  Portraits,  etc.  6  vols.,  i2mo,  half  calf  extra,  gilt  top,  uncut. 

New  York,  1861. 


1861  —  Hood,  Thomas. 


Poems.  Illustrated  by  G.  Dore.  8  steel  engravings.  Folio,  cloth,  gilt  edges. 

London,  1870. 

1862  —  Hope,  Thomas. 


Costume  of  the  Ancients.  200  plates  in  outline. 
Original  edition. 


8 vo,  calf  extra,  gilt  edges. 

London,  1809. 


1863  —  Huguenot  Society  of  America. 

Proceedings,  1883-87;  1884-88;  1888-96.  3  vols.,  8vo,  half  brown  morocco, 

gilt  top,  uncut. 


1864  —  Huguenot  Society  of  America. 

•  Collections  of.  Vol.  I.  Royal  8vo,  half  cloth,  gilt  top. 


1865 


New  York,  1884-96. 


New  York,  1886. 


Huguenot  Society  of  America. 

Tercentenary  Celebration  of  the  Promulgation  of  the  Edict  of  Nantes.  Portraits,  etc. 
8vo,  cloth,  gilt  top,  uncut. 

New  York,  1900. 

1866  —  Huguenot  Society  of  London. 

Publications.  Vols.  XIII.,  XIV.  2  vols.,  4to,  paper,  uncut. 

Lymington,  1899-1901. 

No.  392  and  382  of  450  copies  printed. 


1867  —  Humphreys,  A.  L. 


The  Private  Library:  what  we  do  know,  what  we  don’t  know,  what  we  ought  to 
know  about  our  books.  4to,  cloth,  gilt  top,  uncut. 


New  York,  1897. 


1868  —  International  American  Conference  Reports. 

4  vols.,  4to,  half  brown  levant  morocco,  gilt  top. 

English  edition.  Includes  Historical  Appendix. 


Washington,  1890. 


1 869  —  Irving,  Washington. 

Works.  10  vols.,  i2mo,  cloth,  uncut. 


New  York,  1850-51. 


1870  —  Irving,  Washington. 

Life  of  George  Washington.  Numerous  steel  portraits,  etc.  5  vols.,  4to,  half  brown 
levant  morocco,  gilt  back  and  top. 

New  York,  1855-59. 

First  edition,  no  copies  only  printed  in  quarto,  with  proof  impressions  of  the 
portraits  on  India  paper. 


1871  —  Irving,  Washington. 


History  of  New  York  by  Diedrich  Knickerbocker.  Portrait  and 
brown  morocco,  gilt  back  and  sides,  gilt  edges. 


engravings.  8vo. 
New  York,  i860. 


1872  —  Irving ,  Washington. 

Life  and  Letters  of.  By  Pierre  M.  Irving, 
antique,  not  uniform. 


Portrait.  3  vols.,  i2mo,  half  calf 
New  York,  1862-63. 


1873  —  Irving ,  Washington. 

Life  and  Letters.  By  P.  M.  Irving.  Illustrated  with  a  large  number  of  steel  por¬ 
traits  not  in  the  small  paper  copies.  3  vols.,  4to,  half  green  levant  morocco 
extra,  gilt  top,  uncut. 

New  York,  1883. 

No.  49  of  300  copies  printed. 


1874  —  Irving ,  Washington. 


Sketch  Book.  Artist’s  edition.  Portrait.  Illustrated  with  120  engravings  on  wood 
from  the  designs  of  Darley,  Hart,  Hoppin,  Huntington,  Casilear,  McEntee, 
Kensett,  and  others.  4to,  green  levant  morocco,  gilt,  gilt  edges. 

New  York,  1864. 


1875  —  Irving ,  Washington. 


The  Alhambra.  Illustrations  and  colored  borders.  2  vols.,  8vo,  cloth,  gilt  top, 
uncut. 


No.  52  of  100  copies,  with  proofs  on  Japan  paper. 


New  York,  1891. 


1876  —  Irving ,  Washington. 

Rip  van  Winkle.  53  illustrations  by  G.  H.  Boughton. 
back  and  edges,  by  Zaehnsdorf. 


Crown  8vo,  blue  calf,  gilt 
London,  1893. 


1877  —  Israels ,  Jozef ,  L’ Homme  et  LI  Artiste. 


Text  by  F.  Netscher  and  Ph.  Zilcken.  Etchings  by  Wm. 
on  India  paper.  Imperial  folio,  half  brown  morocco. 


Steelink,  the  large  plates 
Amsterdam,  n.  d. 


1878  —  Ivories. 

Ivoires  de  la  Ville  de  Volterra.  Florence,  1880.  Collection  de  M.  Rusca  de  Flor¬ 
ence,  1883.  Both  illustrated.  2  vols.  in  1,  royal  8vo,  half  blue  morocco 
extra,  gilt  top,  uncut. 

1879 — Jackson ,  T.  G. 

Dalmatia;  The  Quarnero  and  Istra.  Illustrated.  3  vols.,  8vo,  brown  levant 
morocco,  inside  borders,  gilt  edges,  by  Zaehnsdorf. 


Oxford,  1887. 


1880 — Jackson ,  T.  G. 


Dalmatia;  The  Ouarnero  and  Istra. 


Illustrated.  3  vols.,  8vo,  half  vellum,  uncut. 


1881 — Jacquemart ,  Albert. 


Histoire  de  la  Ceramique.  200  woodcuts,  12  etchings,  1,000  marks  and  mono¬ 
grams.  Royal  8vo,  ornamented  vellum,  gilt  top. 


Paris,  1873. 


1882 — Jacquemart ,  Albert. 

History  of  the  Ceramic  Art.  Translated  by  Mrs.  Bury  Palliser. 
trations.  Royal  8vo,  cloth,  gilt  top,  uncut. 


Numerous  illus- 
London,  1877. 


1883 — Jacquemart,  Albert. 

History  of  Furniture.  Edited  by  Mrs.  Bury  Palliser. 
Royal  8vo,  cloth,  gilt  top,  uncut. 


Numerous  illustrations. 
London,  1878. 


1884' — Jacquemart  a?id  Le  Blant. 

Histoire  artistique,  industrielle  et  commerciale  de  la  porcelaine. 
half  green  morocco,  gilt  top,  uncut,  by  Chatelin. 


26  etchings.  Folio, 
Paris,  1862. 


1885 — Janin,  Balzac ,  Cormenin ,  and  others. 

Pictures  of  the  French.  230  wood  engravings. 
Portraits  on  India  paper. 


8 vo  cloth  (loose  in  covers). 

London,  1840. 


1886  — Jay,  John. 


Correspondence  and  Public  Papers  of  (1763-1826).  Edited 
4  vols.,  8vo,  half  brown  morocco,  gilt  top,  uncut. 

No.  149  of  750  copies. 


by  H.  P.  Johnston. 
New  York  [1890]. 


1887  — Jesse,  J.  H. 


Memoirs  of  the  Court  of  England  from  the  Revolution  in  1688  to  the  Death  of 
George  the  Second.  Steel  portraits.  3  vols.,  8vo,  half  green  calf  extra. 

London,  1843. 


1888 — Jones,  Owen. 

Grammar  of  Ornament.  Over  100  colored  plates.  Folio,  half  brown  morocco, 
gilt  edges. 


London,  n.  d. 


1889 — Justly  Carl. 

Diego  Velazquez  and  His  Times.  Translated  by  Prof.  A.  H.  Keane,  and  revised 
by  the  author.  Etched  portrait,  52  wood  engravings,  and  plan.  Royal  8vo, 
half  brown  morocco,  gilt  top,  uncut. 

•>  London,  1889. 

1890  —  Kean ,  Edmund. 

Life  of.  By  F.  W.  Hawkins.  2  vols.,  8vo,  calf  extra,  gilt  edges,  by  Riviere. 

London,  1869. 

Unique  copy,  extra  illustrated  by  the  insertion  of  80  plates. 

1891 — Kelmscott  Press. 

The  Golden  Legend  of  Master  William  Caxton  done  anew.  3  vols.,  4to,  half  red 
morocco  extra,  gilt  top,  uncut. 

Kelmscott  Press,  1892. 

Printed  in  the  type  known  as  “  Golden,”  with  two  woodcuts  designed  by  Sir  E. 
Burne-Jones. 

1892  —  Kelmscott  Press. 

The  Recuyell  of  the  Histories  of  Troye.  Translated  by  William  Caxton.  3  vols. 
in  2,  folio,  vellum,  uncut. 

Kelmscott  Press,  1892. 

Printed  in  red  and  black  (300  copies)  and  richly  ornamented  with  woodcut  orna¬ 
ments  designed  by  Wm.  Morris.  The  semi-gothic  type  designed  by  Morris  appears 
for  the  first  time  in  this  book. 


1893  —  Kempis,  Thomas  a. 

Of  the  Imitation  of  Christ.  Frontispiece, 
uncut. 

No.  5  of  6  copies  on  vellum. 

1894  —  Kingsley ,  Charles. 

Works.  xi  vols.,  post  8vo,  half  russia. 

1895  —  Koehler ,  S.  R. 


8vo,  brown  levant  morocco,  gilt  top, 

London,  1881. 


London,  1881. 


Etching:  An  Outline  of  its  Technical  Processes  and  its  History,  with  some  Remarks 
on  Collecting.  30  plates.  Folio,  cloth,  uncut. 

New  York,  1885. 


1896  —  Kohlrausch ,  F. 

History  of  Germany.  Translated  by  J.  D.  Haas.  8vo,  cloth. 

1897  —  Kums,  Edouard. 


New  York,  1845. 


Antwerp.  Illustrated  catalogue  of  his  collection  of  paintings.  4to,  half  green  levant 
morocco,  gilt  top,  uncut. 


Antwerp,  1898. 


1898  —  La  Fayette  ( Madame )  de. 

La  Princesse  de  Cleves.  £tude  par  M.  de  Lescure. 
i2mo,  half  red  levant  morocco,  gilt  top,  uncut. 

Holland  paper  copy. 


Frontispiece  by  Lalauze. 
Paris,  1881. 


1899  —  La  Fontaine. 


Psyche.  Edited  by  D.  Jouaust.  Etchings  and  wood  engravings  after  Levy  and 
Giacomelli.  i2mo,  half  red  levant  morocco,  gilt  top,  uncut. 

Paris,  1880. 

Thick  paper  copy. 


1900  —  Lambert  [Madame)  de. 

CEuvres  morales  de.  Etude  by  M.  de  Lescure.  Frontispiece  by  Lalauze.  i2mo, 
half  blue  morocco,  gilt  top,  uncut. 

Paris,  1883. 


1901  —  Lamborn ,  R.  H. 


Mexican  Painting  and  Painters.  Illustrated.  4to,  cloth,  uncut. 

New  York,  1891. 

No.  81  of  500  copies  printed  for  the  author.  Presentation  copy. 


1902  —  Layardy  Austen  H. 

Nineveh  and  its  Remains.  Illustrated.  2  vols.,  8vo,  cloth,  uncut. 

New  York,  1849. 


1903  —  Leighton ,  Sir  F. 


Illustrated  Chronicle  by  Ernest  Rhys, with  Essay  by  F.  G.  Stephens, 
trated.  4to,  cloth,  gilt  top,  uncut. 


Profusely  illus- 
London,  1895. 


1904  —  Lelandy  C.  G. 

Etruscan  Roman  Remains  in  Popular  Tradition, 
uncut. 


Illustrated.  Royal  8vo,  cloth, 
New  York,  1892. 


1905  —  Lempri'ere,  J. 

Bibliotheca  Classica.  8vo,  half  green  morocco. 


New  York,  1832. 


1906  —  Leonardo  da  Find. 

Literary  Works  of.  By  Jean  Paul  Richter.  Portrait  and  121  plates.  2  vols.,  royal 
8vo,  cloth,  gilt  top. 


English  and  Italian  text. 


London,  1883. 


1907  —  Le  Plongeon,  Augustus. 


Sacred  Mysteries  among  the  Mayas  and  the  Quiches  11,500  Years  Ago,  etc.  Por¬ 
trait  and  other  illustrations.  8vo,  cloth,  uncut. 

New  York,  1886. 


1908  —  Le  Sage ,  A.  R. 


Le  Diable  Boiteux.  Preface  by  H.  Reynald.  Portrait  and  other  etchings  by  Lalauze. 
2  vols.,  i2mo,  half  red  levant  morocco,  gilt  top,  uncut. 


Holland  paper  copy. 


Paris,  1880. 


1909  —  Library  of  Old  Authors. 

Lucasta,  by  R.  Lovelace.  1864.  Whole  Works  of  Roger  Ascham,  now  first  col¬ 
lected.  1865.  3  vols.  in  4.  Hesperides,  by  R.  Herrick.  1869.  2  vols. 

Complete  Works  of  M.  Drayton.  1876.  3  vols.  Together,  9  vols.  in  10, 

crown  8  vo,  half  calf,  gilt  top,  uncut. 

London,  1864-76. 

Large  paper  copies. 


1910 — Liechstentein  ( Princess )  Marie. 

Holland  House.  Numerous  steel  plates,  woodcuts,  and  photographic  illustrations. 
2  vols.,  4to,  half  blue  morocco,  gilt,  gilt  top. 

Large  paper  copy. 


London,  1874. 


1911  —  Linde ,  Antonius  von  der. 

Geschichte  der  Erfindung  der  Buchdruckkunst.  Illustrated, 
levant  morocco,  gilt  top,  uncut. 


3  vols.,  folio,  half  red 
Berlin,  1886. 


1912  —  Linton ,  W.  J. 


Masters  of  Wood-Engraving.  Colored  frontispiece  and  numerous  other  illustrations. 
Royal  4to,  cloth,  gilt  top,  uncut. 

London,  1889. 

No.  19  of  100  large  paper  copies  printed. 


1913  —  Little  Classics. 

Edited  by  Rossiter  Johnson.  9  vols.,  i2mo,  half  calf  extra,  marbled  edges. 

Boston,  n.  d. 

1914  —  Livingstone ,  D. 

Missionary  Travels  and  Researches  in  South  Africa.  Portrait,  illustrations,  and  maps. 
8vo,  cloth. 


New  York,  1858. 


1915  —  Longfellow ,  H.  JV. 

Writings  of,  in  Prose  and  Verse.  With  Bibliographical  and  Critical  Notes.  Numerous 

portraits  on  India  paper,  n  vols.,  8vo,  half  citron  morocco,  gilt  top,  uncut. 

,  Cambridge,  1886. 

Edition  de  luxe.  No.  20  of  500  copies  printed. 


1916  —  Longfellow ,  H.  IV, 

Final  Memorials  of.  Edited  by  S.  Longfellow, 
morocco,  gilt  top,  uncut. 

No.  97  of  300  large  paper  copies. 


Portraits.  8vo,  half  brown 
Boston,  1887. 


1917  —  Longfellow,  H.  JV.  (editor). 

Poets  and  Poetry  of  Europe.  Portrait.  Royal  8vo,  half  calf,  gilt. 

Philadelphia,  1845. 


1918  —  Longfellow ,  H.  JV. 

Tales  of  a  Wayside  Inn.  Frontispiece.  i2mo,  half  calf. 
First  edition. 


Boston,  1863. 


1919 —Louis  XVI. 


Architecture,  decoration  et  ameublement,  Epoque  de.  Text  by  R.  Pfnor.  50  plates. 
Folio,  half  green  levant  morocco,  gilt  top,  uncut. 


Paris,  1865. 


1920  —  Lowell,  James  Russell. 

Writings  of.  Portraits  on  India  paper.  1 1  vols.,  8vo,  half  red  morocco,  gilt  top, 
uncut. 

Cambridge,  1890-91. 

Large  paper  Edition  de  luxe.  Only  300  copies  printed.  (No.  33.)  Ten  volumes 
originally  issued.  Vol.  XI.  is  “  Latest  Literary  Essays.” 


1921  —  Lowell,  J.  R. 

Old  English  Dramatists.  Portrait. 

Large  paper  copy. 


8vo,  blue  levant  morocco,  gilt  top,  uncut. 

Cambridge,  1892. 


1922  —  Lubke,  JVilhehn. 


Grundriss  der  Kunstgeschichte. 
brown  morocco. 


Portrait  and  355  illustrations.  2  vols.,  8vo,  half 

Stuttgart,  1879. 


1923  —  Lucas  van  Leyden. 

CEuvre  de  Lucas  de  Leyde  reproduit  et  publie.  Par  Amand-Durand.  Text  by  G. 

Duplessis.  174  reproductions  from  this  famous  master.  Folio,  brown  morocco 
extra. 


Paris,  n.  d. 


1924  —  Lundy,  John  P. 

Monumental  Christianity,  or  the  Art  and  Symbolism  of  the  Primitive  Church  as  Wit¬ 
nesses  and  Teachers  of  one  Catholic  Faith  and  Practice.  Illustrated.  4to. 
cloth. 

New  York,  1876. 


1925  —  Lyon,  Irving  W. 

Colonial  Furniture  of  New  England.  Profusely  illustrated.  4to,  cloth,  uncut. 

Boston,  1891. 

1926  — Maberly,  J. 

The  Print  Collector.  An  Introduction  to  the  Knowledge  Necessary  for  Forming  a 
Collection  of  Ancient  Prints.  With  Fielding’s  Practice  of  Engraving.  Edited, 
with  notes,  etc.,  by  Robert  Hoe.  4to,  half  brown  levant  morocco,  gilt  top, 
uncut. 

New  York,  1880. 

Large  paper  copy.  No.  17  of  50  so  printed  on  Whatman  paper,  with  10  plates  and 
printer’s  marks. 


1927  —  Maclaughlin,  Fanny. 

Rome,  its  Princes,  Priests,  and  People.  3  vols.,  8vo,  cloth,  uncut. 

London,  1885-87. 


1928  —  Magnian,  Hollingworth. 

Colworth  Collection  of  Works  of  Art.  Illustrated, 
gilt,  gilt  top,  uncut. 


Royal  8vo,  blue  levant  morocco, 
London,  1892. 


1929  —  Maistre,  Xavier  de. 

Voyage  Autour  de  maChambre:  suivi  de  l’expedition  nocturne.  Preface  by  Jules 
Claretie.  6  etchings  by  Hedouin.  i2mo,  flexible  russia,  gilt  edges. 

Paris,  1877. 


1930  —  Margaret  of  Navarre. 

Les  Sept  Journees  de  la  Reine  de  Navarre.  Etchings  by  Flameng.  4  vols.,  i2mo, 
green  levant  morocco,  gilt  and  mosaic  back  and  sides,  inside  borders,  gilt 
edges,  by  Chatelin. 

Jouaust,  Paris,  1872. 

One  of  500  copies  on  Holland  paper. 


1931  —  Marry  at,  J oseph. 

Collections  towards  a  History  of  Pottery  and  Porcelain,  in  the  15th,  16th,  17th, 
and  1 8th  Centuries.  With  a  description  of  the  manufacture,  a  glossary,  and 
a  list  of  monograms.  Colored  plates  and  woodcuts  on  India  paper.  4to, 
half  red  morocco,  gilt  top,  uncut. 

Large  paper  copy  of  the  original  issue. 


London,  1850. 


1932  —  Martin ,  Henri. 

History  of  France,  the  Age  of  Louis  XIV.  and  Decline  of  the  Monarchy.  Trans¬ 
lated  by  Mary  L.  Booth.  Portraits.  4  vols.,  8vo,  cloth,  uncut. 

Boston,  1865-66. 


1933  —  Masaccio. 

Le  Pitture  esistente  in  Roma  nella  Basilica  di  S.  Clemente  colle  teste  lucidate  dal  Sig. 
Carlo  Labruzzi.  With  a  large  number  of  plates  in  stipple.  Atlas  folio,  half 
morocco. 

Roma,  1830. 


1934  —  Maspero ,  G. 

Dawn  of  Civilization:  Egypt  and  Chaldaea.  Map  and  over  470  illustrations  and 
plans.  1894.  The  Struggle  of  the  Nations:  Egypt,  Syria,  and  Assyria.  Map, 
3  colored  plates,  and  over  400  illustrations.  1896.  (Both  vols.  edited  by  A. 
H.  Sayce  and  translated  by  M.  L.  McClure.)  2  vols.,  royal  8vo,  cloth. 

London,  1894-96. 

1935  —  Maupassant ,  Guy  de. 

Pierre  et  Jean.  Illustrated  by  E.  Duez  and  Albert  Lynch.  2  vols.,  4to,  brown 
morocco,  gilt  top,  uncut. 

Paris,  1888. 

No.  13  of  50  copies  on  Japan  paper,  with  plates  in  three  states  (in  Vol.  ii.) ,  one 
being  on  satin,  and  an  original  water-color  design  on  the  false  title. 


1936  —  Meehan ,  Thomas. 

Native  Flowers  and  Ferns  of  the  United  States,  in  their  Botanical,  Horticultural,  and 
Popular  Aspects.  Illustrated  by  a  large  number  of  chromo  lithographs.  4 
vols.,  royal  8vo,  half  morocco  antique. 

Boston  and  Philadelphia,  1878-80. 

Both  series.  This  is  perhaps  the  only  book  of  its  nature  published  in  the  United 
States  where  the  colored  illustrations  actually  serve  as  a  positive  means  of  identifica¬ 
tion. 


1937  —  Meissonier. 

His  Life  and  His  Art.  By  Vallery  C.  O.  Greard.  With  extracts  from  his  note¬ 
books,  and  his  opinions  and  impressions  on  art  and  artists,  collected  by  his 
wife.  Translated  by  Lady  Mary  Loyd  and  Miss  F.  Simmons.  34  plates 
and  236  text  illustrations.  4to,  cloth,  uncut. 

New  York  [London],  1897. 

1938  —  Mexico  et  ses  Environs. 

Collection  de  vues  monumentales,  paysages  et  costumes  du  pais.  2  maps  and  48 
colored  lithographs  after  C.  Castro,  Rodriguez,  and  Campillo.  Edited  by  V. 
Debray.  Folio,  cloth. 

Mexico,  1869. 

Text  in  French  and  Spanish. 


1939  —  Michelet,  M. 


History  of  France.  Translated  by  G.  H.  Smith.  2  vols.,  8vo,  cloth. 

New  York,  1845. 

1940 — Milton,  J. 


Poetical  and  Prose  Works.  Notes  and  Life  by  J.  Mitford. 
morocco  extra,  gilt  top,  uncut. 

Large  paper  copy. 


4  vols.,  4to,  half  brown 
Philadelphia,  1864. 


1941 — Mirandola,  Giovanni  Pico  della. 

Life.  By  his  nephew  Giov.  Francesco  Pico.  Also  three  of  his  letters;  his  interpreta¬ 
tion  of  Psalm  xvi.  ;  his  twelve  rules  of  a  Christian  life;  his  twelve  points  of  a 
perfect  lover;  and  his  deprecatory  hymn  to  God.  Translated  from  the  Latin 
by  Sir  T.  More.  Edited  by  J.  M.  Rigg.  Imperial  8vo,  half  calf  extra,  gilt 
top,  uncut. 

London,  1890. 

No.  45  of  60  large  paper  copies. 


1 942  —  Mollett,  J.  IV. 


Modern  Etchings  of  Celebrated  Paintings,  with  essay, 
morocco,  gilt  top,  uncut. 


20  etchings.  4to,  half  brown 
London,  1883. 


1943  —  Montagu  ( Lady )  Wort  ley. 

Letters  and  Works.  Edited  by  Lord  Wharncliffe. 
calf  extra,  by  Riviere. 


Portraits.  3  vols.,  8vo,  tree 
London,  1837. 


1944  —  Montrosier ,  Eugene. 

Artistes  Modernes.  Over  100  photogravures,  etc. 
brown  levant  morocco  extra,  gilt  top,  uncut. 

The  photogravures  are  on  India  paper. 


3  vols.,  imperial  8vo,  half 
Paris,  1881-82. 


1945  —  Moore ,  Frank. 

Diary  of  the  American  Revolution.  Portraits.  2  vols.,  8vo,  cloth. 

New  York,  i860. 


1946  —  Morgan ,  Mary  Jane. 

Catalogue  of  the  Art  Collection  of.  Profusely  illustrated, 
uncut. 

No.  77  of  500  copies  printed. 


4to,  calf  extra,  gilt  top, 
New  York,  1886. 


1947  —  Morris ,  Beverley  R. 

British  Game  Birds  and  Wildfowl.  60  colored  plates.  4to,  half  red  morocco,  gilt 
edges. 


London,  1885. 


1948  —  Morse,  Edward  S. 


Japanese  Homes  and  their  Surroundings.  Illustrated.  Royal  8vo,  cloth,  gilt  top,  uncut. 


Boston,  1886. 

1949  —  Moses,  H. 


Antique  Vases,  Altars,  Paterae,  Tripods,  Candelabra,  Sarcophagi,  etc.  With  descrip¬ 
tions  by  H.  H.  Baber,  and  170  engravings,  some  in  colors.  4to,  half  calf, 
uncut. 

London  [1814]. 


1950  —  Motley,  J.  L. 

Rise  of  the  Dutch  Republic.  Portraits.  3  vols.,  8vo,  half  calf  antique. 

New  York,  1859. 

1951 — Muller,  Max. 


Chips  from  a  German  Workshop.  4  vols.,  i2mo,  cloth. 


New  York,  1874-76. 


1952  —  Muller. 

Sketches  of  the  Age  of  Francis  I.  [No  title-page.]  26  superbly  colored  plates  of 
the  interiors  and  exteriors  of  famous  French  Chateaux.  Folio,  half  red  morocco 
extra. 


1953  —  Munich  Gallery. 


Die  K.  Bayer.  Gemalde-Galerie  Pinakothek  Miinchen. 

50  India  proof  plates.  Imperial  folio,  full  morocco. 

Text  in  French  and  German. 


Text  by  F.  von  Reber. 
Munich,  n.  d. 


1954  —  Muntz,  Eugene. 

Histoire  de  Part  pendant  la  Renaissance.  Numerous  illustrations,  some  in  color. 
3  vols.,  imperial  8vo,  brown  levant  morocco,  gilt  back  and  sides,  gilt  top, 
uncut. 

Paris,  1889-95. 

1955  —  Murray,  A.  S. 

History  of  Greek  Sculpture.  Illustrated.  2  vols.,  8vo,  uncut. 

London,  1890. 


1956  —  Newport. 

Contribution  to  Bibliography  and  Literature  of. 
brown  morocco,  uncut. 

Only  200  copies  printed. 


By  C.  E.  Hammett,  Jr.  4to,  half 
Newport,  1887. 


1957  —  New  York. 


Fiftieth  Anniversary  of  the  Founding  of  the  Century  Club.  Illustrated.  Royal  8vo, 
cloth,  gilt  top,  uncut. 


New  York,  1897. 


1958  —  Nodier,  Charles. 

The  Bibliomaniac.  Translated  from  the  French  by  Mabel  Osgood  Wright,  and  illus¬ 
trated  with  a  portrait  as  well  as  the  original  vignettes  by  Leloir.  8vo,  vellum 
paper,  uncut  edges. 


Only  150  copies  printed  on  Japan  paper. 

New  York,  1894 

1959  —  Noritane,  Ninagawa. 

Notice  historique  et  descriptive  sur  les  Arts  Japonais.  Art  ceramique :  poterie  (Parts 
I.— VII.).  124  colored  plates.  Oblong  4to,  paper  (in  cloth  wrappers). 


Text  in  Japanese. 

T'okio,  1876-80. 

1960  —  Nowell,  Robert. 

Spending  of  the  Money  of.  Edited  by  Rev.  A.  B.  Grosart. 
extra,  gilt  top,  title  damaged. 

4to,  half  red  morocco 

Privately  printed.  100  copies  only. 

Manchester,  1877. 

1961  —  O'Keeffe,  John. 

Recollections  of  the  Life  of.  Portrait.  2  vols.,  8vo,  calf  extra,  gilt  edges,  by  Morrell. 

London,  1826. 

Unique  copy,  extra  illustrated  by  the  insertion  of  82  plates. 

1962 — Oliphant  (Mrs.) 

The  Makers  of  Venice.  Illustrations  by  R.  R.  Holmes.  8vo,  cloth,  gilt  top,  uncut. 

London,  1887. 

1963  —  Painter ,  Wm. 

Palace  of  Pleasure.  Edited  by  J.  Jacobs.  3  vols.,  4to,  cloth,  uncut. 


No.  3  of  60  large  paper  copies. 

London,  1890. 

1964  —  Palfrey,  John  G. 

History  of  New  England  during  the  Stuart  Dynasty.  Maps, 
red  levant  morocco,  gilt  top,  uncut. 

3  vols.,  imperial  8vo, 

Boston,  1865. 

Large  paper  copy. 

1965  —  Palissy,  the  Potter. 

A  Memoir,  etc.  By  Henry  Morley.  2  vols.,  crown  8vo,  half  green  levant  morocco, 


gilt  top,  uncut,  by  Tout. 

London,  1852. 

1966  —  Palmer,  A.  H. 

Life  and  Letters  of  Samuel  Palmer,  Painter  and  Etcher.  Portrait  and  plates.  8vo, 
cloth,  uncut. 


London,  1892. 


1967  —  Pa  lustre,  Leon. 


La  Renaissance  en  France.  Dessins  et  gravures  sous  la  direction  de  Eugene  Sadoux. 
3  vols.,  folio,  red  levant  morocco  extra,  gilt  edges. 


Paris,  1879. 


1968  —  Palustre  and  Montault. 


Tresor  de  Treves.  Illustrated.  4to,  half  red  levant  morocco,  gilt  top,  uncut. 

Paris,  n.  d. 


No.  8  of  50  copies  on  Japan  paper. 


1969  -  Another  copy.  4to,  paper,  uncut. 

No.  6  of  50  copies  on  Japan  paper. 

1970  —  Paris. 

Histoire  archeologique,  descriptive  et  graphique,  de  la  Sainte-Chapelle  du  palais.  Par 
Decloux  et  Doury.  25  plates,  some  colored  and  heightened  with  gold.  Folio, 
half  maroon  morocco,  gilt  top. 

Paris,  1875. 


1971  —  Paris  a  Travers  les  Ages. 

Text  by  A.  Bonnardot,  J.  Cousin,  and  others.  Numerous  plates, 
half  red  morocco  extra,  gilt  top,  uncut. 


2  vols.,  folio, 
Paris,  1885. 


1972  —  Parker,  J.  H. 

Concise  Glossary  of  Terms  used  in  Architecture.  Illustrated.  Post  8vo,  cloth. 

Oxford,  1866. 


1973  —  Parkman ,  Francis. 

Works.  Maps,  etc.  8  vols.,  i2mo,  half  calf. 


Boston,  1882. 


1974  —  Pellatt,  Apsley. 

Curiosities  of  Glass  Making.  Illustrated.  4to,  cloth,  uncut. 


London,  1849. 


1975  —  Pepys,  Samuel. 

Memoirs  of:  Comprising  his  Diary  from  1659  to  1669,  etc.  Edited  by  Lord  Bray- 
brooke.  Fine  steel  portraits.  5  vols.,  8vo,  half  calf,  gilt  top,  uncut. 

Colburn,  London,  1828. 

1976  —  Pepys,  Samuel. 

Diary  and  Correspondence  of.  Life  and  notes  by  Lord  Braybrooke.  Additional  notes 
by  Rev.  Mynors  Bright.  10  vols.,  i2mo,  cloth,  uncut. 


New  York,  1884. 


1977  —  Percier  and  Fontaine. 

Recueil  de  decorations  interieures,  comprenant  tout  ce  qui  a  rapport  a  rameublement, 


etc.  72  plates  in  outline. 

Folio,  half  morocco. 

Paris,  18x2. 

1978  —  Perrot  and  Chipiez. 

Histoire  de  l’Art  dans  l’Antiquite.  I.  L’Egypte.  II.  Chaldee  et  Assyrie.  Pro¬ 
fusely  illustrated.  2  vols.,  royal  8vo,  half  red  morocco,  gilt  edges. 


1979  —  Perrot  and  Chipiez. 

Paris,  1882-84. 

History  of  Art  in  Ancient  Egypt.  Translated  and  edited  by  W.  Armstrong.  14 
steel  and  colored  plates,  598  engravings  in  the  text.  2  vols.,  royal  8vo,  half 
red  levant  morocco,  gilt  top,  uncut. 

London,  1883. 

1980  —  Perry ,  H.  Beers. 

Old  Burying-ground  of  Fairfield,  Conn.  Also  an  account  of  the  “  Rebuilding  of  the 
Tomb,”  July  8,  1881.  8vo,  cloth. 


1981  —  Persia. 

Hartford,  1882. 

Monuments  modernes  de  la  Perse,  mesures,  dessines,  et  decrits.  Par  Pascal  Coste. 
71  plates.  Folio,  half  red  morocco. 


1982  —  Petit  and  Bisiaux. 

Paris,  1867, 

Motifs  de  decorations.  Extraites  de  Journal-Manuel  de  peintures.  100  plates  in 
color.  2  vols.,  folio,  half  morocco. 


1983  —  Piccolpassi,  Cyprian. 

Paris,  1862, 

Les  Troys  Libvres  de  l’Art  du  Potier.  Translated  into  French  by  C.  Popelyn.  37 
plates.  4to,  half  brown  morocco  extra,  gilt  top,  uncut. 


Paris,  i860. 

1984  —  Piot,  Eugene. 

Catalogue  of  the  Collection  of. 
top,  uncut. 

29  plates.  4to,  half  brown  levant  morocco,  gilt 

Paris,  1890. 

1985  —  Plon,  Eugene. 

Thorvaldsen:  His  Life  and  Works.  Translated  by  Mrs.  Cashel  Hoey.  39  steel  and 
wood  engravings.  Royal  8vo,  cloth. 


London,  1874. 


1986  —  Poe ,  Edgar  Allan. 

Histoires  Extraordinaires  traduites  par  Charles  Baudelaire.  13  illustrations. 
Nouvelles  Histoires,  etc.  13  etchings.  2  vols.,  8vo,  half  calf,  gilt  top. 

Paris,  1884. 

1087  —  Pollard,  A.  W. 

Early  Illustrated  Books :  a  history  of  the  Decoration  and  Illustration  of  Books  in  the 
15th  and  1 6th  Centuries.  Illustrated.  Crown  8vo,  cloth,  uncut. 

London,  1893. 

1988  —  Polo ,  Marco. 

Book  Concerning  the  Kingdoms  and  Marvels  of  the  East.  Translated  by  Col.  H. 
Yule.  Illustrated.  2  vols.,  8vo,  cloth,  uncut. 

London,  1875. 


1989  —  Porcelain. 

Interpretation  des  peintures  dessinees  sur  un  service  de  table  travaille  d’apres  la  bosse 
dans  la  royale  fabrique  de  porcellaine.  Par  ordre  de  Sa  Majeste  le  Roi  des 
Deux  Siciles.  179  plates.  4-to,  half  calf. 

Naples,  1787. 


1990 — Portalis  [Baron)  Roger. 


Les  Dessinateurs  d’illustrations  au  i8ieme  siecle.  Etched  frontispiece, 
half  calf,  citron  edges. 

No.  396  of  500  copies  on  Holland  paper. 


2  vols.,  8 VO, 
Paris,  1877. 


1991  —  Portalis  and  Beraldi. 


Les  Graveurs  du  i8ieme  siecle.  3  vols.  in  6,  8vo,  half  calf,  citron  edges. 


No.  477  of  500  copies  on  Holland  paper. 


Paris,  1880-82. 


1992  —  Porter ,  Noah. 


The  Two-hundredth  Birthday  of  Bishop  George  Berkeley  (March  12,  1885). 
Frontispiece.  8vo,  blue  levant  morocco,  gilt  back  and  sides,  gilt  top,  uncut. 


1993  —  Pottier  and  Reinach. 


New  York,  1885. 


Ecole  Fran^aise  d’Athenes.  La  Necropole  de  Myrina.  51  plates, 
half  brown  levant  morocco,  gilt  top,  uncut,  by  Zaehnsdorf. 

Vol.  ii.  contains  the  plates. 


2  vols.,  4-to, 
Paris,  1888. 


1994 —Prescott,  TV.  H. 


History  of  the  Conquest  of  Peru.  Portraits.  2  vols.,  8vo,  half  red  morocco,  gilt 
top,  uncut. 


New  York,  1848. 


1995  —  Prescott,  W.  H. 


History  of  the  Reign  of  Ferdinand  and  Isabella.  Portraits,  etc.  3  vols.,  8vo,  half 
brown  morocco,  gilt  top. 

New  York,  1848. 


Boston,  1864. 


1996  —  Prescott ,  W.  H. 

History  of  the  Reign  of  Philip  Second.  Portraits.  3  vols.,  8vo,  half  maroon  mo¬ 
rocco,  gilt  top,  uncut. 

Boston,  1855-58. 

First  edition, 

1997  —  Prescott ,  W.  H. 

Life  of.  By  George  Ticknor.  Portrait.  4to,  cloth,  uncut. 

Large  paper  copy. 

1998  —  Prevost,  Abbe. 

Histoire  de  Manon  Lescaut,  etc.  Essay  by  Houssaye.  6  etchings  by  Hedouin.  2 
vols.,  i2mo,  half  red  levant  morocco,  gilt  top,  uncut. 

Paris,  1874. 

Holland  paper  copy. 

1999  —  Prevost ,  AbbL 

History  of  Manon  Lescaut,  etc.  Preface  by  de  Maupassant.  Illustrated  by  M. 
Leloir  (12  full-page  illustrations).  Royal  8vo,  brown  levant  morocco,  mosaic 
back  and  sides,  with  rich  gold  tooling,  inside  borders,  gilt  edges. 

London,  1886. 

2000  —  Property  J.  L. 

History  of  Miniature  Art.  With  notes  on  collectors  and  collections.  Numerous 
plates.  4to,  cloth,  uncut. 


London,  1887. 


2001  —  Protestantism. 


Societe  de  l’histoire  du  protestantisme  fran^ais.  Illustrated.  8vo,  half  green  levant 
morocco,  gilt  top,  uncut. 

[Paris,  1898.] 

2002  —  Pugin,  A.  Welby. 

Floriated  Ornament.  A  series  of  31  designs,  colored.  4to,  half  red  morocco,  gilt  top. 

London,  1875. 

2003  —  Quantin  Classics. 

Leucippe  et  Clitophon.  Par  A.  Tatius.  Translated  by  A.  Pons.  1880.  Dia¬ 

logues  des  Courtisanes.  Translated  by  Pons.  1881.  Poesies  de  Anacreon 
et  de  Sapho.  Translated  into  verse  by  M.  de  la  Roche-Aymon.  1882. 
Jason  et  Medee.  Par  Apollonius  de  Rhodes.  Translated  by  Pons.  1882. 
All  illustrated,  partly  in  color.  4  vols.,  i6mo,  brown  levant  morocco, 
Janseniste,  gilt  edges. 

Quantin,  Paris,  1880-82. 


2004  —  Quarles,  Francis. 


Emblems,  Divine  and  Moral.  With  a  sketch  of  the  life  and  times  of  the  author. 
Illustrated.  4to,  red  straight  grain  morocco,  gilt  edges. 


London,  1859. 


2005  —  Rabelais ,  F. 


CEuvres  de.  3  vols.,  8vo,  calf  (Vol.  I.  loose  in  covers). 

Includes  Contes  Drolatiques,  with  curious  illustrations. 


Paris,  1823. 


2006  —  Racinet ,  M.  A. 

Costume  Historique,  avec  notices  explicatives,  introduction,  et  glossaire.  500  plates 
(300  in  gold,  silver,  and  color,  200  tinted).  6  vols.,  folio,  blue  levant  morocco, 
gilt,  gilt  edges. 

Paris,  1888. 

Large  paper  copy. 


2007  —  Raphael. 


La  Fable  de  Psyche  et  L’Amour.  32  plates  engraved  in  outline  by  Marchais.  India 
proofs.  Folio,  half  levant  morocco,  gilt  top. 

Paris,  1868. 


2008  —  Reade,  Charles. 


Works.  Illustrations  by  J.  Gilbert  and  Charles  Keene.  17  vols.,  crown  8vo,  half 
calf  extra. 

London,  n.  d. 


2009- — Reber ,  Dr.  Franz  von. 


History  of  Mediaeval  Art.  Translated  by  J.  T.  Clarke, 
sary.  8vo,  cloth. 


422  illustrations,  and  glos- 
New  York,  1887. 


2010  —  Reid,  S.J. 


Sketch  of  Life  and  Times  of  the  Rev.  Sydney  Smith, 
cloth. 


Portrait  and  illustrations.  8vo, 
New  York,  1885. 


2011  —  Rein,  J.  J. 


Industries  of  Japan, 
top. 


44  illustrations,  some  colored,  and  3  maps.  8vo,  cloth,  gilt 

New  York,  1889. 


2012  —  Reiss  and  Stiibel. 

Necropolis  of  Ancon  in  Peru :  contribution  to  our  knowledge  of  the  culture  and 
industries  of  the  Empire  of  the  Incas.  Translated  by  A.  H.  Keene.  119 
plates  in  color.  2  vols.,  folio,  green  morocco  extra,  gilt  top,  uncut. 

London,  1881. 

With  volume  of  Indexes  (in  board  wrappers).  Berlin,  1880-87. 


2013  —  Rembrandt. 

L’CEuvre  de  :  decrit  et  commente.  Par  C.  Blanc.  4  vols.,  folio,  half  brown 
levant  morocco,  gilt  top,  uncut.  Vol.  I.  contains  the  plates,  Vol.  IV.  the 
large  plates. 

Paris,  1880. 


2014  —  Rembrandt. 

Sa  Vie,  son  CEuvre,  et  son  temps.  Par  £mile  Michel.  Portrait  and  343  reproduc¬ 
tions.  Imperial  8vo,  half  brown  levant  morocco. 

Paris,  1893. 

2015  —  Reumont,  Alfred  von. 

Lorenzo  de’  Medici,  il  Magnifico.  Portraits.  2  vols.,  8vo,  half  calf,  citron  edges. 

Leipzig,  1883. 

Revolution. 


2016 


Year  Book  of  the  Society  of  the  Sons  of  the  Revolution.  Illustrated.  4to,  cloth, 
uncut. 

New  York,  1893. 

2017  —  Reynolds ,  F. 

Life  and  Times  of.  Portrait.  2  vols.,  8vo,  half  red  levant  morocco,  gilt  top, 
uncut. 

London,  1826. 

2018  —  Reynolds  (a Sir)  Joshua. 

Life  and  Times  of.  With  notices  of  some  of  his  contemporaries,  etc.,  by  C.  R. 
Leslie  and  Tom  Taylor.  Illustrated.  2  vols.,  8vo,  half  green  morocco  extra. 

London,  1865. 

2019 — Rheims  Cathedral. 

Tapisseries  de  la  Cathedrale  de  Reims.  20  plates.  Text  by  Ch.  Loriquet.  Folio, 
blue  morocco,  gilt  and  mosaic,  gilt  edges. 

Paris,  1882. 

No.  40  of  50  copies  on  Holland  paper. 


2020  —  Ricauti ,  T.  J. 


Rustic  Architecture.  Picturesque  decorations  of  rural  buildings  in  the  use  of  rough 
wood,  thatch,  etc.  42  plates.  4to,  half  brown  morocco. 


London,  1842. 


2021  —  Richardson,  Charles. 

Dictionary  of  the  English  Language.  2  vols.,  4to,  half  red  calf  extra. 

London,  1863. 

2022  —  Richardson,  C.  J. 

Architectural  Remains  of  the  Reigns  of  Elizabeth  and  James  1.  Numerous  plates, 
some  in  color.  2  vols.,  royal  folio,  boards. 


London,  1838-40. 


2023  —  Richardson ,  Henry  Hobson ,  and  his  Works. 


By  Mrs.  Schuyler  Van  Rensselaer, 
gilt  top,  uncut. 


Portrait  and  other  illustrations.  4to,  half  cloth, 

Boston,  1888. 


2024  —  Rijksmuseum. 

Die  Meisterwerke  des  Rijksmuseum  zu  Amsterdam.  Text  by  A.  Bredius.  Numer¬ 
ous  full-page  and  half-page  photogravures.  Folio,  brown  morocco,  gilt  back 
and  sides,  gilt  top,  uncut. 

Munich,  n.  d. 


2025  —  Riley,  J.  W. 

Old-fashioned  Roses. 


Post  8vo,  blue  morocco  extra,  gilt  top,  uncut. 

London,  1891. 


2026  —  Riordan ,  Roger. 


A  Score  of  Etchings.  With  text.  20  etchings  by  Hamerton,  Haden,  Herkomer, 
Waltner,  C.  Hunter,  etc.  Folio,  cloth  gilt,  gilt  top,  uncut. 

New  York,  n.  d. 

2027  —  Roberts ,  W. 


Printers’  Marks.  Illustrated.  8vo,  vellum  paper,  uncut. 

No.  53  of  75  copies  printed  on  Japanese  vellum. 


London,  1893. 


2028  —  Robertson ,  Alex. 

Bible  of  St.  Mark.  The  Altar  and  Throne  of  Venice, 
uncut. 


83  Illustrations.  4to,  cloth, 
New  York,  1898. 


2029  —  Robertson ,  Win. 

Works:  India.  Map.  1804.  History  of  Scotland.  Portrait.  1806.  3  vols.  His¬ 
tory  of  Reign  of  Charles  V.  Frontispiece.  1806.  4  vols.  History  of 

America.  Maps.  1808.  4  vols.  Together,  12  vols.,  8vo,  half  green 

morocco. 

London,  1804-08. 


2030  —  Robida,  A. 

La  Vieille  France.  La  Touraine.  Profusely  illustrated, 
morocco,  gilt  top,  uncut,  by  Zaehnsdorf. 


4to,  half  blue  levant 
Paris,  n.  d. 


2031  —  Robinson ,  Vincent  J. 

Eastern  Carpets:  twelve  early  examples.  Preface  by  Sir  George  Birdwood.  24 
colored  illustrations  after  water-color  drawings  by  E.  Julia  Robinson.  2  vols., 
folio,  cloth,  uncut. 


London,  1882-93. 


2032  —  Rogers,  Wm.  B. 


Life  and  Letters.  Edited  by  his  Wife  and  W.  T.  Sedgwick. 
i2mo,  cloth,  gilt  top,  uncut. 


Portrait,  etc.  2  vols., 
Boston,  1896. 


2033  —  Rome. 


Select  Collection  of  Views  and  Ruins  in  Rome  and  its  Vicinity. 
Folio,  half  morocco. 

Large  paper  copy. 


62  colored  plates. 
London,  n.  d. 


2034 — Romney ,  George 

Life  of.  By  W.  Hayley.  Numerous  fine  engravings  by  Caroline  Watson.  4to, 
green  straight  grain  morocco,  back  and  sides  gilt  and  blind  tooled  in  panels, 
gilt  edges. 

Chichester,  1809. 


2035  —  Rose,  Henry. 


Three  Lectures  on  Architecture  in  England,  from  the  Earliest  to  the  Present  Time. 
Illustrated.  8vo,  cloth,  uncut. 


London,  1843. 


2036 — Rousseau,  J.  J. 


Les  Confessions.  13  etchings  by  Ed.  Hedouin. 
morocco,  gilt  top,  uncut. 


4  vols.,  i2mo,  half  maroon  levant 
Paris,  1881. 


2037  —  Rowlandson,  Thomas,  the  Caricaturist. 

Selection  from  his  Works,  with  anecdotal  descriptions  of  his  famous  caricatures,  by 
Joseph  Grego,  and  nearly  400  facsimile  illustrations.  2  vols.,  imperial  8vo, 
half  red  morocco,  gilt  top. 

London,  1880. 


2038  —  Royal  Acade?ny  of  Arts. 

Catalogue  of  Exhibition,  1886.  (118th.)  Illustrated.  4to,  cloth,  gilt  edges. 

London  [1886]. 


2039 — Rubdyiat  of  Omar  Khayyam. 

Rendered  into  English  verse  by  E.  Fitzgerald. 
925  copies  printed. 


i6mo,  vellum  paper,  uncut. 

Mosher,  Portland,  1898. 


2040  —  Rubens,  P.  P. 


L’CEuvre  de:  histoire  et  description  de  ses  tableaux  et  dessins.  Par  Max  Rooses. 
430  plates.  5  vols.,  4to,  half  olive  levant  morocco  extra,  gilt  top,  uncut. 

Antwerp,  1886-92. 


2041  —  Ruskin ,  John. 

Art  Works  as  follows:  Seven  Lamps  of  Architecture.  1849.  Stones  of  Venice. 
3  vols.  1851-67.  Modern  Painters.  5  vols.  1860-68.  9  vols.,  royal 

8vo,  half  calf  extra. 

London,  1849-68. 

The  above  nine  volumes  are  all  early  editions.  The  fifth  volume  of  the  “  Modern 
Painters  ”  is  the  first  edition  as  well  as  the  “  Seven  Lamps.”  The  famous  illustrations 
are  all  included. 


2042  —  Russell,  John,  R.A. 

By  G.  C.  Williamson.  Introduction  by  Lord  Ronald  Gower, 
tions.  4to,  cloth,  gilt  top,  uncut. 

Numerous  illustra- 

London,  1894. 

2043  —  Sabourojf  Collection. 

Monuments  de  Part  Grec.  Publies.  Par  A.  Furtwaengler.  149  plates.  2  vols., 
folio,  red  morocco,  gilt  back  and  sides,  gilt  top,  uncut. 


Berlin,  1883-87. 

2044  — Sajjord,  IF.  H. 

Blennerhassett  Papers.  Portraits.  8vo,  cloth. 

Cincinnati,  1864. 

2045  —  Savage,  J. 

Genealogical  Dictionary  of  the  First  Settlers  of  New  England.  4  vols.,  8vo,  cloth, 
uncut. 


2046  —  Scarron,  P. 

Boston,  i860. 

Roman  Comique.  Preface  by  P.  Bourget.  Portrait  and  other  etchings  by  Leopold 
Flameng.  3  vols.,  12 mo,  half  red  levant  morocco,  gilt  top,  uncut. 

Paris,  1880. 


Holland  paper  copy. 

2047  —  S chaff  and  Gilman  (editors). 

Library  of  Religious  Poetry.  Portrait.  Royal  8vo,  cloth. 

New  York,  1885. 

2048 — Schliernann,  H. 

Tiryns.  188  woodcuts,  24  plates,  map,  etc.  Royal  8vo,  ornamental  cloth,  gilt 
top. 


2049  —  Schuyler,  George. 

New  York,  1885. 

Colonial  New  York:  Philip  Schuyler  and  his  family.  2  vols.,  i2mo,  cloth,  gilt 
top,  uncut. 


New  York,  1885. 


2050  —  Scott  (Sir}  Walter . 

Waverley  Novels.  With  120  steel  engravings  and  2,000  woodcuts.  i2vols.,  royal 
8vo,  calf  gilt,  gilt  edges. 

Edinburgh,  1842. 

In  spite  of  the  temporary  vogue  of  other  editions,  the  above,  known  as  the 
“Abbotsford,”  is  still  the  most  attractive.  The  illustrations  are  by  Turner,  Wilkie, 
Stanfield,  Martin,  Allom,  Nasmyth,  and  other  equally  famous  artists. 


2051  —  Scudder ,  Sam.  H. 

Butterflies  of  Eastern  United  States  and  Canada.  With  special  reference  to  New 
England.  Portraits,  maps,  and  89  plates,  some  in  colors.  3  vols.,  royal  8vo, 
half  citron  morocco  extra,  gilt  top,  uncut. 

Cambridge,  1889. 


2052  —  Sedelmeyer  Gallery  Catalogue. 

Second  hundred.  Illustrated.  Royal  8vo,  brown  levant  morocco  gilt,  gilt  top. 

Paris,  1885. 


2053  —  Sedelmeyer  Gallery. 

Illustrated.  Royal  8vo,  half  green  levant  morocco,  extra,  gilt  top. 


Paris,  1898. 


2054  —  Selby ,  Prideaux  John. 

History  of  British  Forest  Trees.  Nearly  200  illustrations.  8vo,  cloth,  uncut. 

London,  1842. 


2055  —  Shakespeare. 

Dramatic  Works.  Edited,  with  a  glossary  and  various  readings,  by  Sir  Thomas 
Hanmer.  Numerous  fine  engravings  on  copper  by  Gravelot,  from  Hayman’s 
designs.  6  vols.,  4to,  half  red  morocco,  gilt  top,  uncut. 

Oxford,  1770. 


2056  —  Shakespeare  and  the  Rmblem  Writers. 

An  exposition  of  similarities  of  thought  and  expression.  By  Henry  Green.  Numerous 
illustrations  from  old  engravings.  Royal  8vo,  green  levant  morocco,  gilt  top, 
uncut. 

London,  1870. 

Large  paper  copy. 


2057  —  Shakespeare  Society. 

A  complete  set  of  the  publications.  47  parts,  in  18  vols.,  8vo,  calf  extra,  gilt  top, 
uncut,  by  Riviere. 

London,  1841-53. 

Consists  of  nearly  fifty  different  works  illustrative  of  Shakespeare:  Old  Plays, 
Poems,  Curious  Tracts,  Memoirs,  etc. 


2058  —  Shaw ,  Henry. 

Dresses  and  Decorations  of  the  Middle  Ages.  Numerous  colored  plates  and  other 
illustrations.  2  vols.,  royal  8vo,  red  levant  morocco,  gilt  back  and  sides,  gilt 
edges,  by  Bain  (original  covers  bound  in). 

Pickering,  London,  1843. 

An  original  copy. 


2059  —  Shelley ,  Percy  B. 

Works  of.  Portrait.  i6mo,  cloth,  uncut. 

2060 — Simms,  W.  Gilmore. 

Works.  Frontispieces.  10  vols.,  i2mo,  half  calf  extra. 


London,  1836. 


New  York,  1882. 


2061  —  Siret,  Adolphe. 

Dictionnaire  historique  et  raisonne  des  peintre  de  toutes  les  ecoles. 
2  vols.,  royal  8vo,  half  brown  morocco,  gilt  top,  uncut. 


Illustrated. 


London,  1883-84. 


2062  —  Smiles,  Samuel. 

Lives  of  the  Engineers,  including  Boulton  and  Watt, 
calf  extra. 


Illustrated.  4  vols.,  8vo,  tree 
London,  1861-65. 


2063  —  Smiles,  S. 

Huguenots  in  England  and  Ireland.  Frontispiece.  Crown  8vo,  cloth,  uncut. 

London,  1889. 

2064  —  Smith,  J. 

Catalogue  Raisonne  of  the  Works  of  the  most  Eminent  Dutch,  Flemish,  and  French 
Painters.  With  biographical  notices  and  the  prices  at  which  the  pictures  have 
been  sold,  etc.  Portraits.  9  vols.,  royal  8vo,  calf. 

London,  1829-42. 

Complete,  with  the  supplement,  and  now  so  scarce  that  copies  are  almost  unpro¬ 
curable. 


2065  —  Smith ,  John  Chaloner. 

British  Mezzotint  Portraits.  Frontispieces.  4  vols.,  royal  8vo,  cloth,  uncut. 

London,  1884. 

2066  —  Smith,  William. 

Dictionary  of  the  Bible.  Illustrated.  3  vols.,  8vo,  cloth. 


Boston,  1863. 


2067  —  South,  Robert. 


Sermons  Preached  upon  Several  Occasions.  Vols.  I.  and  II.  2  vols.,  8vo,  half 
brown  morocco,  gilt  top,  uncut. 


New  York,  1866-67. 


London,  1833. 


2068  —  Southey ,  R. 

Beauties  of  Prose  Works  of.  Crown  8vo,  calf  extra,  gilt  edges. 


2069  —  South  Kensington  Museum. 

Drawings  of  Glass  Cases,  with  Suggestions  for  the  Arrangement  of  Specimens, 
plates,  many  colored.  Royal  8vo,  half  green  morocco. 

London,  1877. 


55 


2070  —  South  Kensington  Museutn. 

Examples  of  the  works  of  art  in  the  Museum  and  of  the  decorations  of  the  building, 
with  brief  descriptions.  80  plates.  Folio,  cloth,  gilt  top  (loose  in  covers). 

London,  1882. 


2071  —  Spanish  Portraits,  etc. 

Iconografia  Espanola.  Coleccion  de  retratos,  estatuas,  mausoleos  y  demas  monu- 
mentos  ineditos  de  reyes,  reinas,  grandes  capitanes,  escritores,  etc.,  desde 
el  siglo  XI  hasta  el  XVII.  Nearly  100  illustrations  by  V.  Carderera  y 
Solano,  many  in  colors.  2  vols.,  folio,  half  Spanish  morocco  extra,  gilt  top, 
uncut. 

Madrid,  1855-64. 

•  Spanish  and  French  text. 


2072  —  Spenser,  Edmund. 


Complete  Works  in  Prose  and  Verse.  Edited,  with  life,  glossary,  etc.,  by  the  Rev. 
Alex.  B.  Grosart.  10  vols.  [?],  8vo,  cloth,  uncut. 


Only  100  copies  printed. 


London,  1882-84. 


2073  —  Spenser,  Edmund. 

Epithalamion.  Illustrated  by  G.  W.  Edwards. 

450  copies  printed  on  Japan  paper. 


8vo,  vellum,  gilt,  uncut. 

New  York,  1893. 


2074 — Spitzer  Collection. 

Illustrated  Catalogue.  9  vols.,  folio,  half  blue  levant  morocco,  gilt  edges.  Vol. 
VII.  is  an  imperial  folio  (half  green  levant  morocco,  gilt  top),  containing  68 
plates. 

London,  1890-93. 

No.  158  of  600  copies  on  vellum  paper,  with  all  the  superb  plates. 


207 5  —  Sprague  and  Goodale. 

Wild  Flowers  of  America.  50  colored  plates.  4to,  half  brown  levant  morocco,  gilt 
edges. 


Boston,  1882. 


2076  —  Stafford  Gallery. 


Catalogue  of  the  Collection  of  the  Marquis  of  Stafford.  By  W.  Y.  Ottley.  4  vols. 
in  2,  folio,  half  red  morocco,  gilt  top,  uncut. 

London,  1818. 


2077  ■ 


Starforth ,  J. 

Designs  for  Villa  Residences.  With  descriptions.  40  plates.  4to,  cloth. 

Edinburgh,  1866. 

2078  —  Stedman,  E.  C. 

Poets  of  America.  Portrait.  2  vols.,  8vo,  half  citron  morocco,  gilt  top,  uncut. 

Cambridge,  1885. 

No.  24  of  150  copies  printed  on  large  paper. 


2079  —  Stedman ,  E.  C. 

Victorian  Poets.  2  vols.,  8vo,  half  brown  morocco,  gilt  top,  uncut. 
No.  24  of  250  large  paper  copies. 


Cambridge,  1887. 


2080 — Stephens,  F.  G.  (editor). 

Artists  at  Home.  Biographical  notices  and  descriptions, 
olive  morocco,  gilt  top,  uncut. 


25  plates.  Folio,  half 
London,  1884. 


2081  —  Stephens,  John  L. 


Incidents  of  Travel  in  Central  America,  Chiapas,  and  Yucatan, 
tions.  2  vols.,  8vo,  half  brown  morocco,  gilt  top. 


Numerous  illustra- 
New  York,  1841. 


2082  —  Sterne,  Eaure?ice. 


Sentimental  Journey  through  France  and  Italy.  12  full-page  illustrations  and  numer¬ 
ous  sketches  in  the  text,  after  Maurice  Leloir.  4to,  cloth,  gilt  top,  uncut. 

New  York,  1884. 

2083  —  Stewart,  Sir  H. 


Planter’s  Guide.  Portrait.  8vo,  cloth,  uncut. 


Edinburgh,  1848. 


2084  —  Stewart,  A.  T. 

Catalogue  of  Paintings,  Sculptures,  Books,  etc.  Illustrated.  Folio,  parchment. 

New  York,  1887. 

No.  37  of  100  copies  printed,  with  signed  proof  impressions  of  the  illustrations. 


2085  —  Stirling-Maxwell,  Sir  Wm. 

Annals  of  the  Artists  of  Spain.  Portrait  and  24  plates, 
levant  morocco,  gilt  top,  uncut. 


4  vols.,  8vo,  half  brown 


Large  paper  copy,  with  illustrations  in  two  states. 


London,  1891. 


2086 — Storrs  (R  ev .)  R.  S. 


Early  American  Spirit  and  the  Genesis  of  it.  The  Declaration  of  Independence  and 
the  effects  of  it.  Royal  8vo,  half  brown  morocco,  gilt  top,  uncut. 


No.  116  of  150  large  paper  copies. 


New  York,  1878. 


2087  —  Stranahan ,  C.  H. 

History  of  French  Painting.  16  illustrations.  8vo,  cloth,  gilt  top,  uncut. 

New  York,  1888. 


2088  —  Strawberry  Hill  Catalogue . 

Horace  Walpole’s  collection  of  paintings,  antiques,  etc.  Portrait  on  India  paper. 
4to,  half  green  morocco. 

London,  1842. 

Priced.  Unique  copy,  extra  illustrated  by  the  insertion  of  74  additional  portraits 
and  prints. 


2089  —  Street ,  George  E. 


Brick  and  Marble  in  the  Middle  Ages.  Notes  of  a  tour  in  the  north  of  Italy.  Pro¬ 
fusely  illustrated.  8vo,  cloth,  uncut. 


London,  1855. 


2090  —  Stuart ,  R.  L. 


Catalogue  of  the  Library  of.  440,  cloth,  uncut. 


Privately  printed  for  presentation  only. 


New  York,  1884. 


2091  —  Another  Copy.  Similarly  bound. 


2092  —  Surtees ,  S.  R . 


Hillingdon  Hall;  or,  The  Cockney  Squire, 
etc.  8vo,  cloth,  uncut. 


12  colored  plates  by  Wildrake,  Heath, 

London,  1888. 


2093  —  Swift,  Jonathan. 

Works.  Life,  etc.,  by  Sir  W.  Scott.  Portrait, 
uncut. 

No.  524  of  750  copies  printed. 


19  vols.,  8 vo,  half  calf,  gilt  top, 
London,  1883-84. 


2094  —  Swift. 

Gulliver’s  Travels.  With  a  memoir  by  Saintsbury. 
Royal  8vo,  cloth,  gilt  top,  uncut. 


240  illustrations,  mostly  colored. 


London,  1886. 


2095  —  Sybel,  Ludwig  von. 

Weltgeschichte  der  Kunst  bis  zur  Erbauung  der  Sophienkirche.  Colored  frontis¬ 
piece  and  380  illustrations.  Royal  8vo,  half  maroon  calf,  gilt  top,  uncut. 

Marburg,  1888. 

2096  —  Taine ,  H.  A. 

Tour  through  the  Pyrenees.  Translated  by  J.  F.  Fiske.  Illustrated  by  Dore. 
4to,  cloth,  gilt  edges. 

New  York,  1874. 

2097  —  Tasso ,  T. 

Jerusalem  Delivered.  Translated  by  J.  H.  Wiffen.  Portrait.  2  vols.,  post  8vo, 
half  blue  calf  extra,  gilt  top,  uncut. 

London,  1830. 

2098  —  Taylor ,  Isaac. 

Etruscan  Researches.  Illustrated.  Crown  8vo,  cloth,  uncut. 

London,  1874. 

2099  —  Taylor ,  Jere?ny. 

Rule  and  Exercises  of  Holy  Living  and  Holy  Dying.  Portrait.  2  vols.,  8vo,  brown 
morocco  antique,  gauffred  gilt  edges. 

Pickering,  London,  1847. 

2100 — Ticknor,  George. 

History  of  Spanish  Literature.  With  criticisms  and  biographical  notices.  3  vols., 
8vo,  half  blue  calf  extra,  gilt  top,  uncut. 

London,  1855. 


2101  —  Ticknor,  George. 

Life,  Letters,  and  Journals.  Portraits.  2  vols.,  8vo,  cloth. 

2102  —  T is  sot,  Victor. 


Boston,  1876. 


Unknown  Switzerland.  Translated  by  Mrs.  Wilson.  Numerous  photographs.  8vo, 
cloth,  gilt  top,  uncut. 

New  York,  n.  d. 


2103  —  Titian. 


La  Vie  et  l’CEuvre  de  Titien.  Par  G.  Lafenestre.  Portrait  and  numerous  other  illus¬ 
trations.  Folio,  half  brown  levant  morocco  extra,  gilt  top. 

Quantin,  Paris,  n.  d. 

No.  56  of  800  copies  printed. 


2104 — Toscanelli  Collection. 


Catalogue,  with  52  plates.  4-to,  cloth. 


N.  p.,  n.  d. 


2105 — Tourzel  ( Duchess )  de. 

Memoirs  of.  Published  by  the  Duke  des  Cars.  2  vols.,  8vo,  cloth,  uncut. 

London,  1886. 


2106 — Tuckerman ,  Bayard. 


William  Jay  and  the  Constitutional  Movement  for  the  Abolition  of  Slavery.  Preface 
by  John  Jay.  Portrait.  8vo,  cloth,  gilt  top. 

New  York,  1893. 


2107  —  Tudor  Collection. 

Exhibition  of  the  Royal  House  of.  Illustrated.  4to,  cloth. 


London,  1890. 


2108 —  Tuscany. 

Monumenti  Sepolcrali  della  Toscana.  47  plates  after  outline  designs  by  V.  Gozzini. 
Folio,  half  red  morocco,  uncut. 

Florence,  1819. 


2109 — Uhde,  Constantin. 

Baudenkmaeler  in  Grossbritannien.  Illustrated, 
gilt  top. 


2  vols.,  folio,  half  brown  morocco, 
Berlin,  1894. 


2110  —  Unger,  W7n . 

Les  CEuvres  de.  72  fine  proof  etchings,  with  notes  by  C.  Vosmaer. 
red  morocco  extra,  gilt  top,  uncut. 


Imperial  folio, 
Leyde,  1874. 


2111 — Uzanne,  Octave. 

La  Chronique  Scandaleuse.  1879.  Anecdotes  sur  la  Comtesse  du  Barry.  1880. 
La  Gazette  de  Cythere.  1881.  Les  Mceurs  Secretes  du  XVIIIe  Siecle. 
1883.  4  vols.,  royal  8vo,  half  blue  calf  extra,  uncut. 

London,  1879-83. 

Etched  frontispieces. 


2112  —  Uzanne,  Octave. 

L’Eventail.  Illustrations  by  Paul  Avril,  printed  in  colors, 
morocco,  gilt  top,  uncut. 


Royal  8vo,  half  red 
Paris,  1882. 


2113 — Uzanne,  Octave. 

La  Franchise  du  Siecle.  Modes,  Moeurs,  Usages.  Water-color  drawings  by  Albert 
Lynch,  etched  in  colors  by  E.  Gaujean.  Royal  8vo,  half  brown  morocco,  gilt 
top,  uncut. 

Paris,  1886. 

No.  60  of  100  copies  on  Japan  paper,  with  illustrations  in  two  states. 


2114 — Van  Dyck,  Antoine. 

Sa  Vie  et  son  CEuvre.  Par  Jules  Guiffrey.  Numerous  illustrations,  including  full- 
page  etchings,  etc.  Folio,  half  red  levant  morocco,  gilt  top. 

Paris,  1882. 


2115—  Van  Dyck. 

A  collection  of  124  fine  engravings  by  Lombart,  Vaillant,  Marin,  Faber,  McArdell, 
Ogborne,  and  others,  after  the  masterpieces  of  Van  Dyck.  Some  proof  im¬ 
pressions.  4to,  half  morocco. 


2116 — Van  Ysendyck,  J.  J. 

Documents  classes  de  Part  dans  les  Pays-Bas  du  X'4™'  au  XVIUi4me  siecle.  1880; 
January  to  June,  1881  ;  1886-87;  1888-89.  Over  500  plates.  Together, 
5  vols.,  folio,  half  citron  levant  morocco  extra,  gilt  top,  uncut. 

Antwerp,  1880-89. 


2117  —  Vaux,  Calvert. 

Villas  and  Cottages.  Illustrated.  8vo,  cloth. 


New  York,  1857. 


2118  —  Velasquez. 

Works  of.  Being  a  reproduction  of  17  scarce  and  fine  prints  in  the  British  Museum, 
selected  and  described  by  G.  W.  Reid.  Folio,  half  red  morocco,  gilt  top. 

London,  1872. 

2119  —  Velazquez  and  Murillo. 

Descriptive  and  Historical  Catalogue  of  the  Works  of.  Comprising  a  classified  list 
of  their  paintings,  with  descriptions ;  their  history  from  the  earliest  known  dates; 
names  of  present  and  former  owners,  etc.,  by  C.  B.  Curtis.  4  plates.  Folio, 
morocco  extra,  gilt  edges. 

New  York,  1883. 

No.  13  of  100  large  paper  copies,  with  plates  in  three  states. 


2120 —  Venice. 


Basilica  di  San  Marco.  Dettagli  di  Altari,  Monumenti,  Scultura,  etc.  8  vols.  and 
2  atlas  folio  vols.  with  brilliant  colored  plates.  II  Tesoro.  2  vols.  Docu- 
menti.  Mosaici  Secondarii.  Pavimento.  Together,  15  vols.,  folio,  morocco 
extra.  With  an  extensive  series  of  illustrations,  many  in  colors. 

Venice,  1881-86. 


2121  —  Venice. 


The  Basilica  of  S.  Mark  in  Venice.  Illustrated  from  the  points  of  view  of  art  and 
history,  by  Venetian  writers  under  the  direction  of  Professor  Camillo  Boito. 
Translated  by  W.  Scott.  4to,  morocco  extra. 


Venice,  1888. 


2122 —  Venice. 


Raccolta  delle  Vere  da  Pozzo  (Marmi  Pluteali)  in  Venezia, 
half  blue  morocco,  gilt  top,  uncut. 

ioo  copies  printed. 


Illustrated.  2  vols.,  4to, 
Venice,  1889. 


2123 —  Venice. 


II  Gran  Teatro  di  Venezia  overo  raccolta  delle  principali  vedute  e  pitture  che  in 
essa  si  contengono.  With  the  extensive  series  of  copper-plate  illustrations. 
2  vols.,  folio,  half  brown  morocco  extra. 

[Venezia,  n.  d.]. 


2124 —  Viollet-le-Duc. 


Dictionnaire  raisonne  de  PArchitecture  Franchise  du  XI'  au  XVIe  Siecle.  Portrait 
and  other  illustrations.  10  vols.,  8vo,  half  red  morocco,  gilt  top. 

Paris,  1858-68. 


2125  —  Viollet-le-Duc. 


Dictionnaire  raisonne  du  Mobilier  fran^ais  de  Pepoque  Carlovingienne  a  la  Renais¬ 
sance.  Profusely  illustrated.  6  vols.,  royal  8vo,  half  green  levant  morocco 
extra,  gilt  top,  uncut. 

Paris,  1872-75. 

No.  25  of  100  copies  printed. 

2126 — Virgil. 

Works.  Englished  by  R.  Andrews.  8vo,  calf,  gilt. 

Baskerville,  Birmingham,  1766. 


2127  —  Vitu,  Auguste. 

Paris.  450  dessins  inedits.  4to,  half  calf,  gilt  top,  uncut. 

Quantin,  Paris,  n.  d. 

2128  —  W aldstein,  C. 

Essays  on  the  Art  of  Phidias.  Illustrated.  Royal  8vo,  cloth,  gilt  top,  uncut. 

Cambridge  (U.  S.),  1885. 


2129  —  JValshy  J.  H.  ( Stonehenge ). 

The  Horse  in  the  Stable  and  the  Field.  170  illustrations.  8vo,  cloth,  uncut. 

London,  1869. 

2130  —  Walton  and  Cotton. 


Complete  Angler.  Edited  by  Dr.  Bethune.  Portraits,  etc.  i2mo,  cloth,  uncut. 

New  York,  1847. 

2131  —  Walton  and  Cotton. 

Complete  Angler.  With  notes,  a  bibliographical  preface,  a  catalogue  of  books  on 
angling,  etc.,  by  the  Rev.  Geo.  W.  Bethune.  Numerous  steel  plates  and 
woodcuts.  2  vols.,  royal  8vo,  half  brown  levant  morocco  extra,  gilt  top, 
uncut. 

New  York,  1880. 

Large  paper  copy.  No.  22  of  100  printed. 


2132  —  Walton ,  Isaac. 

Lives  of  Donne,  Wotton,  Hooker,  Herbert,  and  Sanderson. 
8vo,  green  calf,  gilt  back  and  top,  gilt  edges. 


Portraits.  Crown 
London,  1858. 


2133 — Another  copy.  Brown  morocco,  blind  tooled,  gilt  edges. 


2134 — Waring,  J.  B. 

Masterpieces  of  Industrial  Art  and  Sculpture  at  the  International  Exhibition,  1862. 
Illustrated  by  a  large  number  of  superb  plates  in  gold,  silver,  and  colors.  3 
vols.,  folio,  richly  bound  in  red  morocco  extra,  gilt  edges. 

London,  1863. 


2135 — Washington  Family. 

Pedigree  and  History  of.  By  Albert  Welles.  Portraits,  etc.  8vo,  cloth,  gilt  edges. 

New  York,  1879. 


2136 — Washington  Arch,  History  of. 

Illustrated.  4to,  vellum,  gilt  top,  uncut 
Edition  de  luxe. 


New  York,  1896. 


2137  —  Watson,  P.  W. 


Dendrologia  Britannica,  or  Trees  and  Shrubs  that  will  Live  in  the  Open  Air  of  Britain, 
etc.  172  colored  plates.  2  vols.,  8vo,  half  calf. 


London,  1825. 


2138 —  Wedgwood,  Josiah. 

Life  of.  From  his  correspondence,  family  papers,  and  other  original  sources.  With 
an  introduction  relative  to  the  art  of  pottery  in  England.  By  Eliza  Meteyard. 
Portrait  and  numerous  other  illustrations.  2  vols.,  8vo,  brown  morocco 
antique,  medallions  of  Wedgwood  ware  on  the  sides,  gilt  edges. 

London,  1865-66. 


2139  —  Wheatley,  H.  B. 


Remarkable  Bindings  in  the  British  Museum,  selected  for  their  beauty  or  historic 
interest.  62  plates.  4to,  boards,  uncut. 


London,  1889. 


41  of  150  large  paper  copies. 


2140  —  White,  R.  G. 


National  Hymns. 


8vo,  cloth. 


New  York,  1861. 


2141  —  Wilkie ,  Sir  David. 

Life  of.  With  his  Journals,  etc.  By  Allan  Cunningham.  Portrait.  3  vols,  8vo, 
calf  extra,  gilt  top,  uncut. 

London,  1843. 

Unique  copy,  extra  illustrated  by  the  insertion  of  30  plates,  some  of  them  India 
proofs. 


2142  —  Wilkinson,  Wm. 

English  Country  Houses.  61  views  and  plans.  8vo,  cloth. 

2143  —  Williams ,  John  Lee . 

Territory  of  Florida.  Portrait,  2  views,  and  map.  8vo,  cloth. 

2144 —  Wilson,  J. 


London,  1875. 


New  York,  1837. 


Noctes  Ambrosianae.  Portraits.  4  vols.,  crown  8vo,  half  brown  morocco,  gilt  top, 
uncut. 

Edinburgh,  1864. 


2145  —  Winckelmann,  John. 


History  of  Ancient  Art.  Translated  by  G.  H.  Lodge.  Numerous  plates.  4  vols., 
4to,  brown  morocco,  gilt  back  and  sides,  gilt  edges. 

Boston,  1880. 

No.  92  of  100  large  paper  copies. 


2146 —  Another  copy.  Also  on  large  paper.  With  Dr.  Emil  Braun’s  “  Introduction  to  the 

Study  of  Art  Mythology.  Translated  by  John  Grant.  Gotha,  1856,” 
containing  100  plates  in  outline.  Together,  5  vols.,  4to,  half  brown  levant 
morocco,  gilt  top,  uncut. 

No.  86  of  100  copies  printed.  Extra  illustrated  by  the  insertion  of  163  folio  en¬ 
gravings. 


2147  —  Wood,  J.  G. 


Illustrated  Natural  History.  Reptiles,  Fishes,  Insects.  1863.  Birds.  1862.  Many 
hundred  woodcuts.  2  vols.,  royal  8vo,  cloth,  uncut,  and  half  calf  extra. 

London,  1862-63. 

2148 —  Worcester,  J E. 


Dictionary  of  the  English  Language.  4to,  half  red  morocco  (loose  in  covers). 

Boston,  ,1860. 


2149 — Wordsworth,  William. 

Poetical  Works.  8  vols.  Life  of  Wordsworth.  3  vols.  Edited  by  William 
Knight,  with  portraits  and  frontispieces.  11  vols.,  royal  8vo,  half  brown 
levant  morocco,  gilt  top. 

No.  69  of  115  copies  on  large  paper. 


Edinburgh,  1882-89. 


2150  —  Wordsworth ,  W. 

Poetical  Works. 


Portrait.  6  vols.,  post  8vo,  cloth,  uncut. 


London,  1864. 


2151  —  Wornum,  Ralph  N. 

Epochs  of  Painting.  Illustrated.  8vo,  half  brown  morocco,  gilt  top,  uncut. 

London,  1864. 


2152  —  Wyon ,  Alfred  B.  and  Allan. 

Great  Seals  of  England.  55  plates.  4to,  cloth  gilt,  gilt  edges. 
No.  130  of  300  copies  printed. 


London,  1887. 


2153 —  Yriartey  Charles. 


Florence:  its  history,  etc.  Translated  by  C.  B.  Pitman, 
cloth  extra,  gilt  edges. 


500  illustrations.  4-to, 
London,  1882. 


2154  —  Zanotto ,  Francesco. 


Le  Fabbriche  e  i  Monumenti  cospicui  di  Venezia.  Over  200  fine  plates.  2  vols., 
imperial  folio,  half  red  levant  morocco,  gilt  top,  uncut. 


Venezia,  1858. 


AMERICAN  ART  ASSOCIATION, 
Managers. 


THOMAS  E.  KIRBY, 
Auctioneer. 


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